
I 



children's games. 

IFrom an old engraving by Van der Venne.] 



GAMES AND SONGS 



OF 



AMERICAN CHILDREN 



J 



COLLECTED AND COMPARED 

BY 

WILLIAM WELLS NEWELL 



NEW YORK 
HARPER & BROTHERS, PUBLISHERS 

1884 






Entered according to Act of Congress, in the )'ear 1888, Vjy 

HARPER & BROTHERS, 

In the Office of the Librarian of Congress, at Washington. 

All rights reserved. 

Transfer ' 

EngJ neer% "School Ul^ 
June 2!9« 1931 



EDITOR'S NOTE. 



The existence of any children's tradition in America, maintained inde- 
pendently of print, has hitherto been scarcely noticed. Yet it appears 
that, in this minor but curious branch of folk-lore, the vein in the United 
States is both richer and purer than that so far worked in Great Britain. 
These games supply material for the elucidation of a subject hitherto 
obscure: they exhibit the true relation of ancient English lore of this 
kind to that of the continent of Europe ; while the amusements of youth 
in other languages are often illustrated by American custom, which com- 
pares favorably, in respect of compass and antiquity, with that of Euro- 
pean countries. 

Of the two branches into which the lore of the nursery may be divided 
— the tradition of children and the tradition of nurses — the present col- 
lection includes only the former. It is devoted to formulas of play which 
children have preserved from generation to generation, without the in- 
tervention, often without the knowledge, of older minds. Were these — 
trifling as they often are — merely local and individual, they might be 
passed over with a smile ; but being English and European, they form not 
the least curious chapter of the history of manners and customs. It has 
therefore been an essential part of the editor's object to exhibit their 
correspondences and history ; but, unwilling to overcloud with cumbrous 
research that healthy and bright atmosphere which invests all that really 
belongs to childhood, he has thought it best to remand to an appendix 
the necessary references, retaining in the text only so much as may be 
reasonably supposed of interest to the readers in whom one or another 
page may awaken early memories. 



vi Editor s Note. 

He has to exj^ress sincere thanks to the friends, in different parts of the 
country, whose kind assistance has rendered possible this volume, in which 
almost every one of the older states is represented ; and he will be grateful 
for such further information as may tend to render the collection more 
accurate and complete. 

The melodies which accompany many of the games have been written 
from the recitation of children by S, Austen Pearce, Mus. Doc. Oxon. 



CONTENTS. 



PAGE 

Editor's Note v 

INTRODUCTORY. 

I. The Diffusion and Origin op American Game-rhymes 1 

II. The Ballad, the Dance, and the Game 8 

III. May-games 13 

IV. The Inventiveness of Children. 32 

V. The Conservatism of Children 28 

I. LOVE -GAMES. 

No. 

1. Ejstights op Spain 39 

2. Three Kings 46 

3. Here Comes a Duke 47 

4. Tread, Tread the Green Grass 50 

5. I will Give You a Paper op Pins 51 

6. There She Stands, a Lovely Creature 55 

7. Green Grow the Rushes, O ! t 56 

8. The Widow with Daughters to Marry 56 

9. Philander's March 58 

10. Marriage 59 

II. HISTORIES. 

11. Miss Jennia Jones 63 

12. Down She Comes, as White as Milk 67 

13. Little Sally Waters 70 

14. Here Sits the Queen op England 70 

15. Green Gravel 71 

16. Uncle John , 72 



viii Contents. 

No . PAGE 

17. King Arthur was King William's Son 73 

18. Little Harry Hughes and the Duke's Daughter , 75 

19. Barbara Allen 78 

III. PLAYING AT WORK. 

30. Virginia Reel 80 

21. Oats, Pease, Beans, and Barley Grows 80 

32. Who'll be the Binder? 84 

33. As We Go Round the Mulberry Bush 86 

34. Do, do, Pity my Case 87 

35. When I was a Shoemaker 88 

26. Here we Come Gathering Nuts op May 89 

27. Here I Brew and Here I Bake 90 

28. Draw a Bucket op Water 90 

29. Threading the Needle 91 

IV. HUMOR AND SATIRE. 

30. Soldier, Soldier, Will You Marry Me? , 93 

31. Quaker Courtship • 94 

32. Lazy Mary , 96 

33. Whistle, Daughter, Whistle 96 

34. There were Three Jolly Welshmen 97 

35. A Hallowe'en Rhyme 98 

36. The Doctor's Prescription 99 

37. Old Grimes , 100 

38. The Baptist Game 101 

39. Trials, Troubles, and Tribulations 103 

40. Happy is the MiI;Ler 103 

41. The Miller op Gosport 103 

V. FLOWER ORACLES, ETC 
43. Flower Oracles 105 

43. Use op Flowers in Games 107 

44. Counting Apple-seeds 109 

45. Rose in the Garden 110 

46. There was a Tree Stood in the Ground Ill 

47. Green! 113 



Contents. ix 



VI. BIRD AND BEAST. 

No- PAGR 

48. My Household 115 

49. Frog-pond. 116 

50. Bloody Tom 117 

51. Blue-birds and Yellow-birds 118 

53. Ducks Fly 119 

VII. HUMAN LIFE. 

53. King and Queen 120 

54. Follow your Leader 122 

55. Truth 123 

56. Initiation 122 

57. Judge and Jury 123 

58. Three Jolly Sailors 124 

59. Marching to Quebec 125 

60. Sudden Departure 126 

61. Scorn.,. 136 

VIII. THE PLEASURES OF MOTION. 

62. Ring xIround the Rosie 127 

63. Go Round and Round the Valley 138 

64. The Farmer in the Dell 189 

65. The Game op Rivers 130 

66. Quaker, How is Thee? 130 

67. Darby Jig 131 

68. Right Elbow In 131 

69. My Master Sent Me... 131 

70. humpty dumpty 133 

71. Pease Porridge Hot • 132 

72. Rhymes for a Race 132 

73. Twine the Garland 133 

74. hopping-dance 133 

IX. MIRTH AND JEST. 

75. Club Fist • 134 

76. Robin's Alive - 135 



X Contents. 

No. PAGE 

77. Laughter Games 136 

78. Bachelok's Kitchen 137 

79. The Ohxtech and the Steeple 138 

80. What Color? 138 

81. Beetle and Wedge 138 

82. Present and Advise 139 

83. Genteel Lady •. 139 

84. Beast, Bird, or Fish 140 

85. Wheel of Fortune 140 

86. Catches....... 141 

87. Intery Mintery 143 

88. Redeeming Forfeits ^ 143 

89. Old Mother Tipsy-toe 143 

90. Who Stole the Cardinal's Hat? 145 

X. GUESSING-GAMES. 

91. Odd or Even 147 

92. HuL GuL 147 

93. How Many Fingers ? 148 

94. Right or Left 149 

95. Under which Finger ? 149 

96. Comes, it Comes , 150 

97. Hold Fast My Gold Ring 150 

98. My Lady Queen Anne 151 

99. The Wandering Dollar 151 

100. Thimble in Sight 152 

XL GAMES OF CHASE. 

101. How Many Miles to Babylon ? 153 

102. Hawk and Chickens 155 

103. Tag 158 

104. Den i59 

105. I Spy 160 

106. Sheep and Wolf 161 

107. Blank and Ladder 161 

108. Blind-man's Buff 162 

109. Witch in the Jar 163 



Contents. xi 

No. PAGE 

110. Prisoner's Base 164 

111. Defence of the Castle 164 

112. LiL LiL 165 

113. Charley Barley 165 

114. Milking-pails 166 

115. Stealing Grapes , 167 

116. Stealing Sticks 168 

117. Hunt the Squirrel 168 

XII. CERTAIN GAMES OF VERY LITTLE GIRLS. 

118. Sail the Ship 170 

119. Three Around 170 

120. Iron Gates 170 

121. Charley Over the Water 171 

122. Frog in the Sea 171 

123. Defiance. 172 

124. My Lady's Wardrobe 173 

125. Housekeeping 173 

126. A March 174 

127. Khymes for Tickling 174 

i 

XIII. BALL, AND SIMILAR SPORTS. 

128. The "Times " of Sports 175 

129. Camping the Ball 177 

130. Hand-ball 178 

131. Stool-ball 179 

132. Call-ball 181 

133. Haley-over 181 

134. School-ball 182 

135. Wicket 182 

136. Hockey 183 

137. Roll-ball 183 

138. Hat-ball 183 

139. Corner-ball 183 

140. Base-ball 184 

141. Marbles. . 185 

142. Cat 186 



xii Contents. 

No. PAGE 

143. Cherry-pits 187 

144. Buttons 187 

145. Hop-Scotch.. 188 

146. Duck ON A Rock 189 

147. Mumblety-peg 189 

148. rrvE-STONES 190 

XIV. RHYMES FOR COUNTING OUT. 

149. Counting Rhymes 194 

XV. MYTHOLOGY. 

150. London Bridge 304 

151. Open the Gates 212 

152. Weighing 212 

153. Colors 213 

154. Old Witch 215 

155. The Ogree's Coop 221 

156. Tom Tidler's Ground 221 

157. Dixie's Land 222 

158. Ghost in the Cellar 223 

159. The Enchanted Princess 223 

160. The Sleeping Beauty 224 

APPENDIX. 

Collections of Children's Games 229 

Comparisons and References 232 



GAMES AND SONGS 



OP 



AMERICAN CHILDREN. 



mTRODUCTOKY. 



THE DIFFUSION AND ORIGIN OF AMERICAN GAME-RHYMES. 

" The hideous Thickets in this place* were such that Wolfes and Beares nurst up their 
young from the eyes of all beholders in those very places where the streets are full of 
Girles and Boys sporting up and downe, with a continued concourse of people." — " Won- 
der-working Providence in New England," 1654. 

"The first settlers came from England, and were of the middle rank, and chiefly Friends. 
* * * In early times weddings were held as festivals, probably in imitation of such a prac- 
tice in England. Relations, friends, and neighbors were generally invited, sometimes to 
the amount of one or two hundred. * * * They frequently met again next day ; and 
being mostly young people, and from under restraint, practised social plays and sports." 
— Watson's "Account of Buckingham and Solebury" (Pennsylvania; settled about 1682). 

A MAJORITY of the games of children are played with rhymed formulas, 
which have been handed down from generation to generation.. These we 
have collected in part from the children themselves, in greater part from 
persons of mature age who remember the usages of their youth ; for this 
collection represents an expiring custom. The vine of oral tradition, of 
popular poetry, which for a thousand years has twined and bloomed on 
English soil, in other days enriching with color and fragrance equally 
the castle and the cottage, is perishing at the roots ; its prouder branches 
have long since been blasted, and children's song, its humble but longest- 
flowering offshoot, will soon have shared their fate. 

It proves upon examination that these childish usages of play are almost 

* Boston. 
1 



2 Games and Songs of American Children. 

entirely of old English origin, A few games, it is true, appear to have 
been lately imported from England or Ireland, or borrowed from the 
French or the German ; but these make up only a small proportion of the 
whole. Many of the rounds still common in our cities, judging from their 
incoherence and rudeness, might be supposed inventions of " Arabs of the 
streets;" but these invariably prove to be mere corruptions of songs long 
familiar on American soil. The influence of print is here practically 
nothing ; and a rhyme used in the sports of American children almost 
always varies from the form of the same game in Great Britain, when 
such now exists. 

There are quarters of the great city of !New York in which one hears 
the dialect, and meets the faces, of Cork or Tipperary. But the children 
of these immigrants attend the pnblic school, that mighty engine of equal- 
ization ; their language has seldom more than a trace of accent, and they 
adopt from schoohnates local formulas for games, differing more or less 
from those which their parents used on the other side of the sea. In 
other parts of the town, a German may live for years, needing and using 
in business and social intercourse no tongue but his own, and may return 
to Europe innocent of any knowledge of the English speech. Children 
of such residents speak German in th*eir homes, and play with each other 
the games they have brought with them from the Fatherland. But they 
all speak English also, are familiar with the songs which American chil- 
dren sing, and employ these too in their sports. There is no transference 
from one tongue to another, unless in a few cases, when the barrier of 
rhyme does not exist. The English-speaking population, which imposes 
on all new-comers its language, imposes also its traditions, even the tradi- 
tions of children. 

A curious inquirer who should set about forming a collection of these 
rhymes, would naturally look for differences in the tradition of different 
parts of the Union, would desire to contrast the characteristic amusements 
of children in the North and in the South, descendants of Puritan and 
Quaker. In this he would find his expectations disappointed, and for the 
reason assigned. This lore belongs, in the main, to the day before such 
distinctions came into existence; it has been maintained with equal perti- 
nacity, and with small variations, from Canada to the Gulf. Even in 
districts distinguished by severity of moral doctrines, it does not appear 
that any attempt was made to interfere with the liberty of youth. No- 
where have the old sports (often, it is true, in crude rustic forms) been 



The Diffusion and Origin of American Game-Rhymes. 3 

more generally maintained than in localities famous for Puritanism. 
Tims, by a natural law of reversion, something of the music, grace, and 
gayety of an earlier period of unconscious and natural living has been 
preserved to sweeten the formality, angularity, and tedium of an otherwise 
beneficial religious movement. 

It is only within the century that America has become the land of mo- 
tion and novelty. During the long colonial period, the quiet towns, less 
in communication with distant settlements than with the mother-country 
itself, removed from the currents of thought circulating in Europe, were 
under those conditions in which tradition is most prized and longest main- 
tained. The old English lore in its higher branches, the ballad and the tale, 
already belonging to the past at the time of the settlement, was only spar- 
ingly existent among the intelligent class from which America was peo- 
pled ; but such as they did bring with them was retained. Besides, the 
greater simplicity and freedom of American life caused, as it would 
seem, these childish amusements to be kept up by intelligent and culti- 
vated families after the corresponding class in England had frowned them 
down as too promiscuous and informal. But it is among families with 
the greatest claims to social respectability that our rhymes have, in gen- 
eral, been best preserved. 

During the time of which we are writing, independent local usages 
sprang up, so that each town had oftentimes its own formulas and names 
for children's sports ; but these were, after all, only selections from a 
common stock, one place retaining one part, another another, of the old 
tradition. But in the course of the last two generations (and this is a sec- 
ondary reason for the uniforuiity of our games in different parts of the 
country) the extension of intercourse between the States has tended to 
diffuse them, so that petty rhymes, lately invented, have sometimes 
gained currency from Maine to Georgia. 

We proceed to speak of our games as they exist on the other side of the 
sea. A comparison with English and Scotch, collections shows us very few 
games mentioned as surviving in Great Britain which we cannot parallel 
in independent forms. On the other hand, there are numerous in- 
stances in which rhymes of this sort, still current in America, do not 
appear to be now known in the mother-country, though they oftentimes 
have equivalents on the continent of Europe. In nearly all such cases it 
is plain that the New World has preserved what the Old World has for- 
gotten ; and the amusements of children to-day picture to us the dances 



4 Games and Songs of American Children. 

which delighted the court as well as the people of the Old England before 
the settlement of the New.* 

To develop the interest of our subject, however, we must go bejond the 
limits of the English tongue. The practice of American children en- 
ables lis to picture to ourselves the sports which pleased the mfancy of 
Froissart and Rabelais.f A dramatic action of the Virginia hills pre- 
serves the usage of Faroe and Iceland, of Sweden and Venice.:}: We dis- 
cover that it is an unusual thing to find anj remarkable childish sport 
on the European continent which failed to domesticate itself (though now 
perhaps forgotten) in England. It is thus vividly and irresistibly forced 
upon our notice, that the traditions of the principal nations of Europe 
have differed little more than the dialects of one language, the common 
tongue, so to speak, of religion, chivalry, and civilization. 

A different explanation has been given to this coincidence. AVhen only 
the agreement, in a few cases, of English and German rhymes was no- 
ticed, it was assumed that the correspondence was owing to race-migration ; 
to the settlement in England of German tribes, who brought with them 
national traditions. The present volume would be sufficient to show the 
untenability of such an hypothesis. The resemblance of children's songs in 
different countries, like the similarity of popular traditions in general, is 
owing to their perpetual diffusion from land to land ; a diffusion which 
has been going on in all ages, in all directions, and with all degrees of 
rapidity. But the interest of their resemblance is hardly diminished by 
this consideration. The character of some of these parallelisms proves 
that for the diffusion in Europe of certain games of our collection we 
must go back to the early Middle Age;§ while the extent of the identity 
of our American (that is, of old English) child's lore with the European 
is a continual surprise.! 

Internal evidence alone would be sufficient to refer many of the sports 
to a mediaeval origin, for we can still trace in them the expression of the 
life of that period. 

* See Nos. 40 and 58. f See No. 21. % See No. 3. § See No. 1. 

II More than three fourths of all children's games in the German collections are paral- 
leled (it may be in widely varying forms) in the present volume. Allowing for the incom- 
pleteness of collections, the resemblance of French games is probably nearly as close. 
The case is not very different in Italy and Sweden, so far at least as concerns games of any 
dramatic interest. Not till we come to Russia, do we find anything like an independent 
usage. Taken altogether, our American games are as ancient and characteristic as any, 
and throw much light on the European system of childish tradition. 



The Diffusion and Origin of American Game-Rhymes. 5 

We comprehend how deeply mediaeval religious conceptions affected 
the life of the time, when we see that allusions to those beliefs are still 
concealed in the playing of children. We find that the tests which the 
soul, escaped from the body, had, as it was supposed, to undergo — the scales 
of St. Michael, the keys of St. Peter, and the perpetual warfare of angels 
and devils over departed souls — were familiarly represented and dramatized 
in the sports of infants."^ Snch allusions have, it is true, been excluded 
from English games ; but that these once abounded with them can be 
made abundantly evident. We see that chivalric warfare, the building 
and siege of castles, the march and the charge of armies, equally supplied 
material for childish mimicry. We learn how, in this manner, the social 
state and habits of half a thousand years ago unconsciously furnish the 
amusement of youth, when the faith and fashion of the ancient day is no 
longer intelligible to their elders. 

It will be obvious that many of the game-rhymes in this collection 
were not composed by children. They were formerly played, as in many 
countries they are still played, by young persons of marriageable age, or 
even by mature men and women. The truth is, that in past centuries all 
the world, judged by our present standard, seems to have been a little 
childish. The maids of honor of Queen Elizabeth's day, if we may credit 
the poets, were devoted to the game of tag,f and conceived it a waste of 
time to pass in idleness hours which might be employed in that pleasure, 
with which Diana and her nymphs were supposed to amuse themselves. 
Froissart describes the court of France as amusing itself with sports fa- 
miliar to his own childhood ; and the Spectator speaks of the fashion- 
able ladies of London as occupied with a game which is represented in 
this series.;}: 

We need not, however, go to remote times or lands for illustration 
.which is supplied by ISTew England country towns of a generation since. 
In these, dancing, under that name, was little practised ; it was confined to 
one or two balls in the course of the year on such occasions as the Fourth 
of July, lasting into the morning hours. At other times, the amusement 
of young people at their gatherings was "playing games." These games 
generally resulted in forfeits, to be redeemed by kissing, in every possible 
variety of position and method. Many of these games were rounds ; but 
as they were not called dances, and as mankind pays more attention to 
words than things, the religious conscience of the community, which ob- 
* See Nos. 150-153. f Barley-break. See No. 101. % No. 90. 



6 Gaines and Songs of American Children. 

jected to dancing, took no alarm. Such wei-e the pleasures of jonng men 
and women from sixteen to twenty-live years of age. Nor were the par- 
ticipants mere rustics; many of them could boast as good blood, as careful 
breeding, and as much intelligence, as any in the land. N^either was the 
morality or sensitiveness of the young women of that day in any respect 
inferior to what it is at present. 

Now that our country towns are become mere outlying suburbs of 
cities, these remarks may be read with a smile at the rude simplicity of 
old-fashioned American life. But the laugh should be directed, not at our 
own country, but at the by -gone age."^ In respectable and cultivated 
French society, at the time of which we speak, the amusements, not mere- 
ly of young people, but of their elders as well, were every whit as crude. 
The suggestion is so contrary to our preconceived ideas, that we hasten 
to shelter ourselves behind the respectable name of Madame Celnart, who, 
as a recognized authority on etiquette, must pass for an unimpeachable 
witness.f This writer compiled a very curious " Complete Manual of 
Games of Society, containing all the games proper for young people of 
both sexes," which seems to have gained public approbation, since it 
reached a second edition in 1830. In her preface she recommends the 
games of which we have been speaking as recreations for husiness men: 

"Another consideration in favor of games of society: it must be ad- 
mitted that for persons leading a sedentary life, and occupied all day in 
writing and reckoning (the case with most men), a game which demands 
the same attitude, the same tension of mind, is a poor recreation. * -^^ * On 
the contrary, the varying movement of games of society, their diversity, 
the gracious and gay ideas which these games inspire, the decorous caresses 
which they permit — all this combines to give real amusement. These 
caresses can alarm neither modesty nor prudence, since a kiss in honor 
given and taken before numerous witnesses is often an act of propriety." - 

* It must be remembered that in mediaeval Europe, and in England till the end of the 
seventeenth century, a kiss was the usual salutation of a lady to a gentleman whom she 
wished to honor. The Portuguese ladies who came to England with the Infanta in 1662 
were not used to the custom ; but, as Pepys says, in ten days they had ' ' learnt to kiss 
and look freely up and down." Kissing in games was, therefore, a matter of course, in all 
ranks. 

f Mme. felisabeth-Felicie Bayle-Mouillard, who wrote under this pseudonym, had in 
her day a great reputation as a writer on etiquette. Her "Manuel Complet de la Bonne 
Compagnie " reached six editions in the course of a few years, and was published in Amer- 
ica in two different translations — at Boston in 1833, and Philadelphia in 1841. 



The Difftision and Origin of American Game-Rhymes. 7 

She prefers "rounds" to other amusements: "All hands united; all 
feet in cadence; all months repeating the same refrain; the numerous 
turns, the merry airs, the facile and rapid pantomime, the kisses which 
usually accompany them — everything combines, in my opinion, to make 
rounds the exercise of free and lively gayety." 

We find among the ring-games giv^en b}^ our author, and recommended 
to men of affairs, several of which English forms exist in our collection, 
and are familiar to all children.* 

We are thus led to remark an important truth. It is altogether a mis- 
take to suppose that these games (or, indeed, popular lore of any descrip- 
tion) originated with peasants, or describe the life of peasants. The tra- 
dition, on the contrary, invariably came from above, from the intelligent 
class. If these usages seem rustic, it is only because the country retained 
what the city forgot, in consequence of the change of manners to which it 
M^as sooner exposed. Such customs were, at no remote date, the pleasures 
of courts and palaces. Many games of our collection, on the other hand, 
have, it is true, always belonged to children; but no division -line can 
be drawn, since out of sports now purely infantine have arisen dances 
and songs which have for centuries been favorites with young men and 
women. f 

* See Kos. 10 and 36. f See No. 154, and note. 



Games aiid Songs of Americait Children. 



II. 

THE DANCE, THE BALLAD, AND THE GAME. 

Entre Paris et Saint-Denis 
II s'eleve une danse ; 
Toutes les dames de la villa 
Sont alentonr qui dansent. 

Toutes les dames de la villa 
Sont alentour qui dansent ; 
II n'y a que la fille du roi 
D'un c6te qui ragarde. 

Canadian Round. 

Games accompanied by song may be divided into ballads, songs, and 
games proper. 

By tlie term ballad is properly signified a dance-song, or dramatic poem 
snng and acted in the dance. The very word, derived through the late 
Latin f from the Greek, attests that golden chain of oral tradition which 
links our modern time, across centuries of invasion and conflict, with 
the bright life of classic antiquity. 

Still more pleasantly is a like history contained in another name for 
the same custom. The usual old English name for the round dance, or its 
accompanying song, was carol, which we now use in the restricted sense 
of a festival hymn. Chaucer's "Romaunt of the Rose" describes for us 
the movement of the "karoie," danced on the " grene gras" in the spring 
days. He shows us knights and ladies holding each other by the hand, in 
a flowery garden where the May music of mavis and nightingale blends 
with the " clere and f ul swete karoling " of the lady who sings for the 
dancers. This sense of the word continued in classic use till the sixteenth 
century, and has survived in dialect to the present da3^ Many of the 

* Ballad, iallet, hall, from hallare, to dance. 



The Dance, the Ballad, and the Game. 9 

games of onr series are such rounds or carols, "love-dances" in wliich 
youths and maidens formerly stood in the ring by couples, holding each 
other's hands, though our children no longer observe that arrangement. 
Now the word carol is only a modernized form of chorus. Thus childisli 
habit has preserved to the present day the idea and movement of the vil- 
lage ring-dance, the chorns, such as it existed centuries or millenniums be- 
fore another and religious form of the dance accompanied by song liad 
received that technical name in the Greek drama. 

Very little was needed to turn the ballad into a dramatic performance, 
by assigning different parts to different actors. It is natural also for 
children to act out the stories they hear. We lind, accordingly, that 
ancient ballads have sometimes passed into children's games. But, in 
the present collection, the majority of the pieces which can be referred 
to the ballad are of a different character. In these the remainder of the 
history is reduced to a few lines, or to a single couplet. These historiettes 
have retained the situation, omitting the narration, of the ancient song. 
We can understand how youthful or rustic minds, when the popular song 
had nearly passed out of mitid, should have vaguely maintained the up- 
shot of the story : 

Here sits the Queen of England in her cliair ; 
She has lost the true love that she had last year. 

It is the tragedy told in a line; and what more is needed, since an excuse 
is already provided for the kiss or the romp?* 

Of lyric song we, have scarce anything to offer. The fifteenth and 
sixteenth centuries gave biilh, all over Europe, to popular lyric poesy, 
modelled on literary antecedents, and replacing in general estimation the 
ancient dramatic ballad. Shakespeare, who merely refers to the ballad 
proper, makes frequent use of the popular song of his day. In many 
countries this taste has penetrated to the people ; the power of lyric com- 
position has become general, so that a collection of popular songs will con- 
tain many sweet and pleasing pieces. The ballad has thus passed into the 
round. An inconsequent but musical babble, like that of a brook or a 
child, has replaced the severe accents of the ancient narration. But in 
English — why, we will not pause to inquire — it is not so. Whatever of 
this kind once existed has passed away, leaving but little trace. All that 
is poetical or pretty is the relic of past centuries ; and when the ancient 

* See Nos. 12-17. 



lo Games and Songs of America^t Children. 

treasure is spent, absolute prose succeeds. The modern soil is incapable 
of giving birth to a single flower. 

Our rhymes, therefore, belong almost entirely to the third class — the 
game proper. But though less interesting poetically, and only recorded 
at a late period, it does not follow that they have not as ancient a history 
as the oldest ballads ; on the contrary, it will abundantly appear that the 
formulas used in games have an especially persistent life. As the ballad 
is a dramatic narrative, so the game is a dramatic action, or series of ac- 
tions; and the latter is as primitive as the former, while both w^ere em- 
ployed to regulate the dance. 

Most modern dances, silently performed in couples, are merely lively 
movements ; but in all ancient performances of the sort the idea is as es- 
sential as the form. ■ Precisely as the meaningless refrains of many ballads 
arise from a forgetfulness of intelligible words, dances which are only 
motion grew out of dances which expressed something. The dance was 
originally the dramatized expression of any feature of nature or life which 
excited interest. Every department of human labor — the work of the 
farmer, weaver, or tradesman ; the church, the court, and the army ; the 
habits and movements of the animals which seem so near to man in his 
simplicity, and in whose life he takes so active an interest; the ways and 
works of the potent supernatural beings, good or evil, or, rather, beneficent 
or dangerous, by whom he believes himself surrounded ; angel and devil, 
witch and ogre — representations of all these served, each in turn, for the 
amusement of an idle hour, when the labor which is the bitterness of the 
enforced workman is a jest to the free youth, and the introduction of 
spiritual fears which constitute the terror of darkness only adds an agree- 
able excitement to the sports of the play-ground. All this was expressed 
in song shared by the whole company, which was once the invariable at- 
tendant of the dance, so that the two made up but one idea, and to " sing 
a dance" and "dance a song" were identical expressions. 

The children's rounds of to-day, in which each form of words has its 
accompanying arrangement of tlie ring, its significant motion and gesture, 
thus possess historic interest. For these preserve for us some picture of 
the conduct of the ballads, dances, and games which were once the amuse- 
ment of the palace as of the hamlet. 

The form of the verses used in the games also deserves note. These 
usually consist either of a rhyming couplet, or of four lines in which the 
second and fourth rhyme; they are often accompanied by a refrain, which 



The Da lice ^ the Ballad^ and the Game, 



II 



may be a single added line, or may be made up of two lines inserted into 
the stanza; and in place of exact consonance, any assonance, or similarity 
of sound, will answer for the rhyme. Above all, they possess the freedom 
and quaintness, the tendency to vary in detail while preserving the gen- 
eral idea, which distinguish a living oral ti-adition from the monotonous 
printed page; in these respects, our rhymes, humble though they be, are 
marked as the last echo of the ancient popular poetry. 

There is especial reason why an Englishman, or the descendants of 
Englishmen, should take pride in the national popular song.* European 
mediaeval tradition was, it is true, in a measure a common stock; but, 
though the themes may often have been thus supplied, the poetic form 
wdiich was given to that material in each land was determined by the 
genius of the language and of the people. Now, among all its neighbors, 
the English popular poesy was the most courtly, the most lyric, the most 
sweet. So much we can still discern by what time has spared. 

The English ballad was already born when Canute the Dane coasted 
the shore of Britain ; its golden age was already over when Dante summed. 
up mediaeval thought in the "Divina Commedia;" its reproductive period 
was at an end when Columbus enlarged the horizon of Europe to admit a 
]S^ew World ; it was a memory of the past when the American colonies 
were founded ; but even in its last echoes there lingers we know not 
what mysterious charm of freshness, poetic atmosphere, and eternal youth. 
Even in these nursery rhymes some grace of the ancient song survives. 
A girl is a "red rose," a "pretty fair maid," the "finest flower," the 
"flower of May." The verse itself, simple as it is, often corrupted, is a 
cry of delight in existence, of satisfaction with nature ; its season is the 
season of bloom and of love; its refrain is "For we are all so gay." It 
comes to us, in its innocence and freshness, like the breath of a distant and 
inaccessible garden, tainted now and then by the odors of intervening city 
streets. But the vulgarity is modern, accidental ; the pleasure and poetry 
are of the original essence. 

We cannot but look with regret on the threatened disappearance of 
these childish traditions, which have given so much happiness to so many 
generations, and which a single age has nearly forgotten. These songs 

* Yet there is no modern English treatise on the history of the ballad possessing critical 
pretensions. It is to the unselfish labors of an American — Professor Francis J. Child, of 
Harvard Univei'sity — that we are soon to owe a complete and comparative edition of Eng- 
lish ballads. 



12 Games and Songs of Ainerican Children. 

have fulfilled the conditions of healthy amusement, as nothing else can 
do. The proper performance of the round, or conduct of the sport, was to 
youthful minds a matter of the most serious concern — a little drama whicli 
could be represented over and over for hours, in which self-consciousness 
was absorbed in the ambition of the actors to set forth properly their parts. 
The recital had that feature which distinguishes popular tradition in 
general, and wherein it is so poorly replaced by literature. Here was no 
repetition by rote ; but the mind and heart were active, the spirit of the 
language appropriated, and a vein of deep though childish poetry nour- 
ished sentiment and imagination. It seems a thousand pities that the an^ 
cient tree sliould not continue to blossom; that whatever may have been 
acrid or tasteless in the fruit cannot be corrected by the ingrafting of a 
later time. There is something so agreeable in the idea of an inheritance 
of thought kept up by childhood itself, created for and adapted to its own 
needs, that it is hard to consent to part with it. Tlie loss cannot be made 
good by the deliberate invention of older minds. Children's amusement, 
directed and controlled by grown people, would be neither childish nor 
amusing. True child's play is a sacred mystery, at which their elders can 
only obtain glances by stealth through the crevice of the curtain. Children 
will never adopt as their own tradition the games which maybe composed 
or remodelled, professedlj^ for their amusement, but with the secret pur- 
pose of moral direction. 

We do not mean, however, to sigh over natural changes. These amuse- 
ments came into existence because they were adapted to the conditions of 
early life ; they pass away because those conditions are altered. The taste 
of other days sustained them ; the taste of our day abandons them. This 
surrender is only one symptom of a mighty change which has come over 
the human mind, and whicli bids fair to cause the recent time, a thousand 
years hence, to be looked back upon as a dividing-mark in the history 
of intelligence. If it should turn out that the childhood of the human 
intellect is passing gradually into the "light of common day" — if the 
past is to be looked back upon with that affectionate though unreasoning 
interest with which a grown man remembers his imaginative youth — then 
every fragment which illustrates that past will possess an attraction inde- 
pendent of its intrinsic value. 



May Games. 13 



III. 

MA Y GAMES. 

All lovers' hearts that are in care 
To their ladies they do repair, 
In fresh morning-s before the day, 

Before the day ; 
And are in mirth aye more and more, 
Through gladness of this lovely May, 
Through gladness of this lovely May. 

Old Song. 

Children's rlijraes and songs have been handed down in two princi- 
pal ways. First, they have been used for winter amusements, particularly 
at the Christmas season,'-'^ as has from time immemorial been the case in 
northern countries; and, secondly, thej have been sung as rounds and 
dances, especially during summer evenings, upon the village green or city 
sidewalk. The latter custom is fast becoming extinct, though the circling 
ring of little girls "on the green grass turning" may now and then be 
still observed ; but a generation since the practice was common with all 
classes. The proper time for such sports is the early summer; and many 
of our rounds declare themselves in words, as well as by sentiment, to be 
the remainder of the ancient May dances. To render this clear, it will be 
necessary to give some account of the May festival ; but we shall confine 
ourselves to customs of which we can point out relics in our own land. 
These we can illustrate, without repeating the descriptions of English 
writers, from Continental usage, which was in most respects identical with 
old English practice. 

It was an ancient habit for the young men of a village, on the eve of 
the holiday, to go into the forests and select the tallest and straightest tree 

* In the country, in Massachusetts, Thanksgiving evening was the particular occasion 
for these games. 



14 Games ajid So7igs of American Children. 

which could be found. This was adorned with ribbons and flowers, 
brought home with great ceremony, and planted in front of the church, 
or at the door of some noted person, where it remained permanently 
to form the centre of sports and dances. The May-pole itself, the songs 
sung about it, and the maiden who was queen of the feast, were alike 
called May. In the absence of any classic mention, the universality of the 
practice in mediseval Europe, and the common Latin name, may be taken 
as proof that similar usages made part of the festival held about the cal- 
ends of May — the F lor alia or Majuma. 

J^otwithstanding all that has been said about the license of this festival 
in the days of the Empire, it is altogether probable that the essential char- 
acter of the feast of Flora or Maia was not very different from its mediee- 
val or modern survival. The abundance of flowers, the excursions to the 
mountains, the decoration of houses, and the very name of Flora, prove 
that, whatever abuses may have introduced themselves, and whatever prim- 
itive superstitions may have been intermingled — superstitions to an early 
time harmless and pure, and only in the decline of faith the source of 
offence and corruption — the population of ancient Italy shared that natural 
and innocent delight in the season of blossom which afterwards affected 
to more conscious expression Chaucer and Milton. 

This "bringing home of summer and May" was symbolic; the tree, 
dressed out in garlands, typifying the fertility of the year. As in all such 
rites, the songs and dances, of a more or less religious character, were 
supposed to have the power of causing the productiveness which they ex- 
tolled or represented."" These practices, however, were not merely super- 
stitious; mirth and music expressed the delight of the human heart, in its 
simplicity, at the reappearance of verdure and blossom, and thanksgiving 
to the generous Bestovver, which, so long as man shall exist on earth, will 
be instinctively awakened by the bright opening of the annual drama. 
Superstition has been the support about which jjoetry has twined : it is 
a common mistake of investigators to be content with pointing out 
the former, and overlooking the coeval existence of the latter. Thus 
the natural mirth and merriment of the season blended with the sup- 
posed efScacy of the rite ; and the primitive character of the ring-dance 
appears to be the circle about the sacred tree in honor of the period of 
bloom. 

A relic, though a trifling one, of the ancient custom, may be seen in 

* The feast of Flora, says Pliny, in order that everything sliovldi flower. 



May Games. 15 

some of our cities on the earlv days of the month. In New York, at 
least, groups of cliildren may then be observed carrying through the 
streets a pole painted with gay stripes, ribbons depending from its top, 
which are held at the .end by members of the little company. These pro- 
ceed, perhaps, to the Central Park, wliere they conduct their festivities, 
forming the ring, and playing games which are included in our collection. 
Within a few years, however, these afternoon expeditions have become 
rare. 

The May-pole, as we have described it) belonged to the village ; but a 
like usage was kept up bj^ individuals. It was the duty of every lover to 
go into the woods on the eve or early morn of May-day, and bring thence 
boughs and garlands, which he either planted before the door of his mis- 
tress, or affixed thereto, according to local custom. The particular tree, or 
hush (this expression meaning no more than bough), preferred for the pur- 
pose was tlie hawthorn, which is properly the tree of May, as blooming in 
the month the name of wdiich it has in many countries received. A be- 
lief in the protective influence of the white-thorn, when attached to the 
house-door, dates back to Roman times. The May-tree, whatever its spe- 
cies, was often adorned with ribbons and silk, with fruit or birds, some- 
times with written poems. The lover brought his offering at early dawn, 
and it w^as the duty of his mistress to be present at her window and re- 
ceive it ; thus we have in a song of the fifteenth or sixteenth century from 
. the Netherlands — 

Fair maiden, lie you still asleep, 
And let the morning go ? 

Arise, arise, accept the May, 
That stands here all a-blow. 

An English carol alludes to the same practice — 

A branch of May I bring to you, 
Before your door it stands.* 

The custom was so universal as to give rise to proverbial expressions. 
Thus, in Italy, "to plant a May at every door" meant to be very suscep- 
tible; and in France, to."esmayer" a girl was to court her. 

Some of our readers may be surprised to learn that an offshoot of this 

* So in Southern France — 

"Catherine, ma mie — reveille-toi, s'il vous plait; 
Regarde & ta fengtre le mai et le bouquet." 



1 6 Games and Songs of American Children. 

usage still exists in the United States ; the custom, namely, of hanging 
"May baskets." A lialf-century since, in Western Massachusetts, a lad 
would rise early on May-morning, perhaps at three o'clock, and go into 
the fields. He gathered the trailing arbutus (the only flower there avail- 
able at the season), and with his best skill made a " basket," by the aid 
of "winter-green" and similar verdure. This he cautiously affixed to the 
door of any girl whom he wished to honor. She was left to guess the 
giver. The practice is still common in many parts of the country, but in 
a different form. Both boys and girls make " May baskets," and on May- 
eve attach them to each other's doors, ringing at the same time the house- 
bell. A pursuit follows, and whoever can capture the responsible person 
is entitled to a kiss. We do not venture to assert that the latter usage is 
entirely a corruption of the former.* 

The terra "May-baskets" is no doubt a modernized form of the old 
English word " May-buskets," employed by Spenser.f Baslcets are no 
more than hushes — that is, as we have already explained, the flowering 
branches of hawthorn or other tree, picked early on the May-morn, and 
used to decorate the house. It seems likely that a misunderstanding of 
the word changed the fashion of the usage ; the American lad, instead of 
attaching a bough, hung a basket to his sweetheart's door. 

A French writer pleasantly describes the customs of which we are 
speaking, as they exist in his own province of Champagne: "The hours 
have passed ; it is midnight ; the doors of the young lads open. Each 
issues noiselessly. He holds in his hand branches and bouquets, garlands 
and crowns of flowers. Above the gate of his mistress his hand, trem- 
bling with love, places his mysterious homage; then, quietly as he came, 
he retires, saying, ' Perhaps she has seen me.' . . . The day dawns. Up ! 
boys and girls ! up ! it is the first of May ! up, and sing ! The young 

* " On May-day eve, young men and women still continue to play each other tricks by 
placing branches of trees, shrubs, or flowers under each other's windows, or before their 
doors." — Harland, " Lancashire Folk-lore. " 

f The " Shepheards Calender" recites how, in the month of May, 

Youngthes folke now flocken in every where, 
To gather May-buskets and smelling brere; 
And home they hasten the postes to dight, 
And all the kirk-pillours eare day-light. 
With hawthorn buds, and sweete eglantine, 
And girlonds of roses, and soppes in wine. 

" Sops in wine " are said to be pinks. 



May Games, 1 7 

men, decked out with ribbons and wild-flowers, go from door to door to 
sing the month of Maj and their love." 

Of the morning song and dance about the "bush," or branches of trees 
planted as we have described, we have evidence in the words of American 
rhymes. Thus — 

As we go round the mulberry-bush, 
All on a frosty morning. 

In one or two instances, a similar refrain figures in the childish sports of 
little girls, who have probably got it by imitation ; in others, it is the sign 
of an old May game.* An English writer of the sixteenth century alludes 
to the morning dance in a way which proves that these songs really repre- 
sent the practice of his time.f 

The playing of May games was by no means confined to the exact date 
of the festival The sign of a country tavern in England was a thorn-bush 
fixed on a pole, and about this " bush " took place the dance of wedding 
companies who came to the tavern to feast, whence this post w^as called 
the bride's stake. Whether the thorn-bush w^as introduced into the "New 
English " settlements we cannot say ; but the dancing at weddings was com- 
mon, at least among that portion of those communities which was not 
bound by the religious restraint that controlled the ruling class. There 
were, as a French refugee wrote home in 1688, "all kinds of life and 
manners" in the colonies. In the Colony of Massachusetts Bay, 7th May, 
1651, the General Court resolved, " Whereas it is observed that there are 
many abuses and disorders by dauncinge in ordinaryes, whether mixt or 
unmixt, upon marriage of some persons, this court doth order, that hence- 
forward there shall be no dauncinge upon such occasion, or at other times, 
in ordinaryes, upon the paine of five shillings, for every person that shall 
so daunce in ordinaryes." While youth in the cities might be as gay as 
elsewhere, in many districts the Puritan spirit prevailed, and the very 
name of dancing was looked on with aversion. But the young people met 
this emergency with great discretion ; they simply called their amusements 
playing games, and under this name kept up many of the rounds which 
were the time-honored dances of the old country. 

* See Nos. 23, 26, and 160. 
- f "In summer season howe doe the moste part of our yong men and maydes in 
earely rising and getting themselves into the fieldes at dauncing ! What foolishe toyes shall 
not a man see among them!" — " Northbrooke's Treatise," 1577. 

2 



1 8 Games and Songs of American Children. 

Tlie French writer whom we have ah-eady had occasion to quote goes 
on to speak of the customs of the younger girls of his province — the 
hachelettes^ as they are called. " On the first of May, dressed in white, 
they put at their head the sweetest and prettiest of their number. They 
robe her for the occasion : a white veil, a crown of white flowers adorn 
her head ; she carries a candle in her hand ; she is their queen, she is the 
Trimouzette. Then, all together, they go from door to door singing the 
song of the Trimouzettes ; they ask contributions for adorning the altar 
of the Yirgin,for celebrating, in a joyous repast, the festival of the Queen 
of Heaven." 

This May procession, which has been the custom of girls for centuries, 
from Spain to Denmark, existed, perhaps still exists, in New England. 
Until very recently, children in all parts of the United States maintained 
the ancient habit of rising at dawn of May-day, and sallying forth in 
search of flowers. The writer well remembers his own youthful excur- 
sions, sometimes rewarded, even in chilly Massachusetts, by the early blue 
star of the hepatica, or the pink drooping bell of the anemone. The 
maids, too, had rites of their own. In those days, troops of young girls 
might still be seen, bareheaded and dressed in white, their May-queen 
crowned with a garland of colored paper. But common-sense has pre- 
vailed at last over poetic tradition ; and as an act of homage to east winds, a 
hostile force more powerful at that period than the breath of Flora, it has 
been agreed that summer in New England does not begin until June. 

These May-day performances, however, were originally no children's 
custom ; in this, as in so many other respects, the children have only 
proved more conservative of old habit than their elders. There can be no 
doubt that these are the survivals of the ancient processions of Ceres, 
Maia, Flora, or by whatever other name the " good goddess," the patron- 
ess of the fertile earth, was named, in which she was solemnly borne forth 
to view and bless the fields. The queen of May herself represents the 
. mistress of Spring; she seems properly only to have overlooked the games 
in which she took no active part."^ 

A writer of the fifteenth century thus describes the European custom 
of his day : " A girl adorned with precious garments, seated on a chariot 

* As I have seen the lady of the May 
Set in an arbour (on a holy-day) 
Built by the May-pole. 

— Wm. Browne. 



May Games. 19 

filled with leaves and flowers, was called the queen of May ; and the girls 
who accompanied her as her handmaidens, addressing the youths who 
passed by, demanded money for their queen. This festivity is still pre- 
served in many countries, especially Spain." The usage survives in the 
dolls which in parts of England children carry round in baskets of flowers 
on May-day, requesting contributions. 

Of this custom a very poetical example, not noticed by English col- 
lectors, has fallen under our own observation. We will suppose ourselves 
in Cornwall on May-day ; the grassy banks of the sunken lanes are gay 
with the domestic blooms dear to old poetry ; the grass is starry with pink 
and white daisies; the spreading limbs of the beech are clad in verdure, 
and among the budding elms of the hedge-rows "birds of every sort" 
"send forth their notes and make great mirth." A file of children, rosy- 
faced boys of five or six years, is seen approaching ; their leader is dis- 
coursing imitative music on a wooden fife, to whose imaginary notes the 
rest keep time with dancing steps. The second and third of the party 
carry a miniature ship; its cargo, its rigging, are blooms of the season, 
bluebells and wall-flowers; the ship is borne from door to door, where 
stand the smiling farmers and their wives ; none is too poor to add a 
penny to the store. As the company vanishes at the turn of the lane, 
we feel that the merriment of the children has more poetically rendered 
the charm of the season than even the song of the birds. 

There is in America no especial song of the festival, though children 
at the May parties of which we have spoken still keep up the " springing 
and leaping" which mediaeval writers speak of as practised by them at 
this occasion. Popular songs are, however, still remembered in Europe, 
where their burden is. May has come ! or. Welcome to May ! Pleasing 
and lyric is the song of the " Trimazos," the lay of the processions of 
girls to which we have alluded, though its simplicity becomes more formal 
in our version of the provincial French: 

It is the merry month of May, Winter has taken flight; 
I could not keep my heart at home that bounded for delight: 
And as I went, and as I came, I sang to the season gay, 
It is the May, the merry May, the merry month of May ! 

E'en as I came the meadows by, the wheat-fields have I seen, 
The hawthorn branches all a-flower, the oat-fields growing green ; 

O Trimazos ! 
It is the May, the merry May, the merry month of May ! 



20 Games and Songs of American Children. 

Madam, I thank yon for your coin, and for your courtesy; 
It is for Mary and her Babe, and it is not for me : 
But I will pray the Child for you to whom your gift is given. 
That he return it you again more royally in heaven. 

So, in the Yosges, young girls fasten a bough of laurel to the hat of a 
young man whom they may meet on the way, wishing 

That God may give him health and joy, 
And the love that he loves best : 
Take the May, the lovely May. 

They ask a gift, but not for themselves : 

It shall be for the Virgin Mary, 

So good and so dear: 

Take the May, the lovely May. 

Corresponding to the French song from which we have quoted is tlie 
English May carol, similarly sung from dwelling to dwelling : 

Rise up the mistress of this house, with gold along your breast, 
For the summer springs so fresh, green, and gay ; 

And if your body be asleep, we hope your soul's at rest, 
Drawing near to the merry month of May. 

God bless this house and harbor, your riches and your store, 
For the summer springs so fresh, green, and gay ; 

We hope the Lord wil? prosper you, both now and evermore, 
Drawing near to the merry month of May. 

The frequent allusions of the earlier English poets to " doing May ob- 
servance," or the " rite of May," show us how all ranks of society, in their 
time, were still animated by the spirit of those primitive faiths to which 
we owe much of our sensibility to natural impressions. Milton himself, 
though a Puritan, appears to approve the usages of the season, and even 
employs the ancient feminine impersonation of the maternal tenderness 
and bounty of nature, invoking the month: 

The flow'ry May, who from her green lap throws 
The 3'^ellow cowslip and the pale primrose. 
Hail, bounteous May, that dost inspire 
Mirth and youth, and warm desire ; 



May Games. 21 

Woods and groves are of tliy dressing, 
Hill and dale doth boast thy blessing. 
Thus we salute thee with our early song, 
And welcome thee, and wish thee long. 

Time, and the changes of taste, have at last proved too strong for the 
persistency of custom; the practices by which blooming youth expressed 
its sympathy with the bloom of the year have perished, taking with them 
much of the poetry of the season, and that inherited sentiment which was 
formerly the possession of the ignorant as well as of the cultivated class. 



2 2 Games and Songs of American Childrefi. 



IV. 

THE INVENTIVENESS OF CHILDREN. 

In the days of childhood new, 

When Time had years and ours were few, 

Here on grassy fields at play, 

Ran we this, the other way ; 

On this very meadow-ground 

First violets found, 

Where the cattle graze to-day. 

Minnesinger, 13 th Century/. 

The student of popular traditions is accustomed to recognize the most 
trifling incidents of a tale, or the phrases of a song, as an adaptation of 
some ancient or foreign counterpart, perhaps removed by an interval of 
centuries. It is the same with rhymes of the sort included in this collec- 
tion, in which formulas of sport, current in our own day and in the New 
World, will be continually found to be the legacy of other generations 
and languages. Should we then infer that childhood, devoid of inventive 
capacity, has no resource but mechanical repetition ? 

We may, on the contrary, affirm that children have an especially lively 
imagination. Observe a little girl who has attended her mother for an 
airing in some city park. The older person, quietly seated beside the 
footpath, is half absorbed in revery ; takes little notice of passers-by, or 
of neighboring sights or sounds, further than to cast an occasional glance 
which may inform her of the child's security. The other, left to her own 
devices, wanders contented within the limited scope, incessantly prattling 
to herself ; now climbing an adjoining rock, now flitting like a bird from 
one side of the pathway to the other. Listen to her monologue, flowing 
as incessantly and musically as the bubbling of a spring ; if you can catch 
enough to follow her thought, you will find a perpetual romance un- 
folding itself in her mind. Imaginary personages accompany her foot- 



The Inventiveness of Children. 23 

steps; the properties of a childish theatre exist in her fancy ; she sustains 
a conversation in three or four characters. The roughnesses of the ground, 
the hasty passage of a squirrel, the chirping of a sparrow, are occasions 
sufficient to suggest an exchange of impressions between the unreal 
figures with which her world is peopled. If she ascends, not without a 
stumble, the artificial rockwork, it is with the expressed solicitude of a 
mother who guides an infant by the edge of a precipice ; if she raises her 
glance to the waving green overhead, it is wnth the cry of pleasure ex- 
changed by playmates who trip from home on a sunshiny day. The older 
person is confined within the barriers of memory and experience ; the 
vounffer breathes the free air of creative fancy. 

A little older grown, such a child becomes the inventor of legend. 
Every house, every hill in the neighborhood, is the locality of an advent- 
ure. Every drive includes spots already famous in supposed history, and 
passes by the abodes of fancied acquaintances. Into a land with few tra- 
ditions the imagination of six years has introduced a whole cycle of 
romance. 

If the family or vicinity contains a group of such minds, fancy takes 
outward form in dramatic performance. The school history is vitalized 
into reality; wars are waged and battles performed in a more extended 
version, while pins and beans signify squadrons and regiments. Ro- 
mances are acted, tales of adv^enture represented with distribution of roles. 
Thus, in a family of our acquaintance, the children treasured up wood- 
engravings, especially such as were cut from the illustrated journals : 
runaway horses, Indian chiefs, and trappers of the wilderness were at an 
especial premium. These they stored in boxes, encamped in different 
corners of the room, and performed a whole library of sensational tales. 
A popular piece set forth the destruction of the villain of the story by a 
shark, while navigating a catamaran. The separated beds of the sleeping- 
room represented the open planks of the raft ; the gentlest and most com- 
pliant character personified the malefactor ; and the shark swam between 
the bedsteads. 

Where sports require or allow such freedom, the ingenuity of children 
puts to shame the dulness of later years, and many a young lady of twenty 
would find it impossible to construct the dialogue w4iich eight summers 
will devise without an effort. It was a favorite amusement of two girls 
just entering theii- teens to conduct a boarding-school. The scholars and 
the teachers of the imaginary school were all named, and these characters 



24 Games and Songs of American Children. 

were taken iti dialogue by the little actors, each sustaining several perfectly 
well-defined parts. The pupils pursued their pleasures and their studies 
according to their several tastes; while their progress, their individual ac- 
complishments and offences, were subsequently gravely discussed by the 
instructors, and the condition, prospects, and management of the institution 
talked over. Thus, hour after hour, without hesitation or weariness, the 
conversation proceeded, with the duo of friends for actors and audience! 

Oftentimes, with young children, an outward support is required for 
fancy, an object to be mentally transformed. One set of little girls col- 
lected in the fall birch-leaves, changed to yellow, out of which alone they 
created their little nursery. Another party employed pins, which they in- 
serted in a board, and called pin-fairies. By the aid of these, long drama- 
tizations were performed, costumes devised, and palaces decorated, under 
regulations rigidly observed. 

Such exercises of imagination are usually conducted in strict privacy, 
and unremarked, or not understood, by parents; but when the attention 
of the latter is directed to these performances, they are often astonished 
by the readiness they disclose, and are apt to mistake for remarkable tal- 
ent what is only the ease of the winged fancy of youtli, which flies lightly 
to heights where later age must laboriously mount step by step. 

As infancy begins to speak by the free though unconscious combina- 
tion of linguistic elements, so childhood retains in language a measure of 
freedom. A little attention to the jargons invented by children might 
have been serviceable to certain philologists. Their love of originality 
finds the tongue of their elders too commonplace ; besides, their fondness 
for mystery requires secret ways of communication. They therefore often 
create (so to speak) new languages, which are formed by changes in the 
mother-speech, but sometimes have quite complicated laws of structure, 
and a considerable arbitrary element. 

The most common of these, which are classified by young friends un- 
der the general name of gihherish, goes in ]^ew England by the name of 
" Hog Latin." It consists simply in the addition of the syllable ery, pre- 
ceded by the sound of hard g, to everv word. Even this is puzzling to 
older persons, who do not at first perceive that " Wiggery youggery gog- 
gery wiggery miggery" means only "Will you go with me!" Children 
sometimes use this device so perpetually that parents fear lest they may 
never recover the command of their native English. When it ceases to 
give pleasure, new dialects are devised. Certain young friends of ours 



The Inventiveness of Children. 25 

at first changed the termination tlms — " Withus yoovus govus withns mee- 
vus?" which must be answered, "Ivus withus goviis withus yoovus;" the 
language, seemingly, not admitting a direct aflSrmative. The next step 
was to make a more complicated sj^stem by prefixing a u (or 00) sound 
with a vowel sufiix. Thus, " Will you go with me to lunch ?" would be 
" Uwilla uoa ugoa uwitha umea utoa uluncha?" But this contrivance, 
adopted by all the children of a neighborhood,* was attended with varia- 
tions incapable of reduction to rule, but dependent on practice and in- 
stinct. The speech could be learned, like any other, only by experience; 
and a little girl assured us that she could not comprehend a single word 
until, in the course of a month, she had learned it by ear. She added, in 
regard to a particular dialect, that it was much harder than French, and 
that her brother had to think a great deal when he used it. The applica- 
tion of euphonic rules was more or less arbitrary. Thus, understand 
would be uery-uinste. The following will answer for a specimen of a 
conversation between a child and a nurse who has learned the tongue: 
" Uery uisy uemy uity?" "Up -stairs, on the screen in your room." 
The child had asked, "Where is my hat?" 

A group of children living near Boston invented the cat language, so 
called because its object was to admit of free intercourse with cats, to 
whom it was mostly talked, and by whom it was presumed to be compi-e- 
hended. In this tongue the cat was naturally the chief subject of nomen- 
clature ; all feline positions were observed and named, and the language 
was rich in such epithets, as Arabic contains a vast number of expressions 
for lion. Euphonic changes were very arbitrary and various, differing for 
the same termination; but the adverbial ending ly was always osh ; ter- 
ribly, tirriblosh. A certain percentage of words were absolutely indepen- 
dent, or at least of obscure origin. The grammar tended to Chinese or 
infantine simplicity; ta represented any case of any personal pronoun. 
A proper name might vary in sound according to the euphonic require- 
ment of the different Christian-names by which it was preceded. There 
were two dialects, one, however, stigmatized as provincial. 

This invention of language must be very common, since other cases 
have fallen under our notice in which children have composed dictionaries 
of such. 

It would be strange if children who exhibit so much inventive talent 
did not contrive new games ; and we find accordingly that in many families 

* la Cincinnati. 



26 Games and Songs of American Child^'en. 

a great part of the amusements of the children are of their own devising. 
Tlie earliest age of which the writer has authentic record of such inge- 
nuity is two and a half years. 

Considering the space which our Indian tribes occupy in the imagina- 
tion of young Americans, it is remarkable that the red man has no place 
whatever in the familiar and authorized sports. On the other hand, savage 
life has often furnished material for individual and local amusements. 

Near the country place of a family within our knowledge was a patch 
of brushwood containing about forty acres, and furnishing an admirable 
ground for savage warfare. Accordingly, a regular game was devised. 
The players were divided into Indians and hunters, the former uttering 
their war-cry in such dialect as youthful imagination regarded as aboriginal. 
The players laid ambushes for each other in the forest, and the game end- 
ed with the extermination of one party or the other. This warfare was 
regulated by strict rules, the presentation of a musket at a fixed distance 
being regarded as equivalent to death. 

In a town of Massachusetts, some thirty years since, it was customary 
for the school-girls, during recess, to divide themselves into separate tribes. 
Shawls spread over tent-poles represented Indian lodges, and a girl al- 
waj^s resorted to her allotted habitation. This was kept up for the whole 
summer, and carried out with' such earnestness that girls belonging to hos- 
tile tribes, though otherwise perfectly good friends, would often not speak 
to each other for weeks, in or out of school. 

In the same town was a community of "Friends," or "Quakers." It 
was the custom for children of these to play at meeting. Sitting about 
the room on a " First-day" gathering, one of them would be moved by the 
spirit, rise, and exhort in the sing-song tone common to the meeting- 
house. There was a regular formula for this amusement — a speech which 
the children had somewhere heard and found laughable: "My de-ar 
friends, I've been a thinking and a thinking and a thinking; I see the 
blinking and the winking : pennyroyal tea is very good for a cold." 

A young lady of our acquaintance, as a child, invented a game of 
pursuit, which she called Spider and Fly. The Flies, sitting on the 
house-stairs, buzzed in and out of the door, where \\\^y were exposed to 
the surprise of the Spider. The children of the neighborhood still main- 
tain the sport, which is almost the exact equivalent of a world-old game 
whose formula is given in our collection. 

We need not go on to illustrate our thesis. But it remains true that 



The Inventiveness of Children. 2 7 

the great mass of tlie sports here presented are not merely old, but have ex- 
isted in many countries, with formulas which have passed from generation 
to generation. How are we to reconcile this fact with the quick inven- 
tion we ascribe to children ? 

The simple reason why the amusements of children are inherited is 
the same as the reason why language is inherited. It ia the necessity of 
general currency, and the difficulty of obtaining it, which restricts the va- 
riation of one and of the other. If a sport is familiar only to one locality 
or one set of children, it passes away as soon as the youthful fancy of that 
region grows weary of it. Besides, the old games, which have prevailed 
and become familiar by a process of natural selection, are usually better 
adapted to children's taste than any new inventions can be; they are 
recommended by the quaintness of formulas which come from the remote 
past, and strike the young imagination as a sort of sacred law. From 
these causes, the same customs have survived for centuries through all 
changes of society, until the present age has involved all popular tradi- 
tions, those of childhood as of maturity, in a general ruin. 



Games and Songs of American Children. 



V. 

THE CONSERVATISM OF CHILDREN. 

Here, as girl's duty is, Timarete lays down her cymbals, 
Places the ball that she loved, carries the net of her hair; 

Maiden, and bride to be, her maids* to maid Artemis renders, 
And with her favorites too offers their various wardrobe. 

Greek Anthology . 

As the light-footed and devious fancy of childhood, within its assigned 
limits, easily outstrips the grave progress of mature years, so the obedi- 
ence of children is far more scrupulous not to overstep the limits of the 
path. It is a provision of nature, in order to secure the preservation of 
the race, that each generation should begin with the unquestioning recep- 
tion of the precepts of tliat which it follows. No deputy is so literal, no 
nurse so Rhadamanthine, as one child left in charge of another. The 
same precision appears in the conduct of sports. The formulas of play 
are as Scripture, of which no jot or tittle is to be repealed. Even the in- 
consequent rhymes of the nursery must be recited in the form in which 
they first became familiar ; as many a mother has learned, who has found 
the versions familiar to her own infancy condemned as inaccurate, and 
who is herself sufficiently affected by superstition to feel a little shocked, 
as if a sacred canon had been irreligiously violated. 

The life of the past never seems so comprehensible, and the historic 
interval never so insignificant, as when the conduct and demeanor of 
children are in question. Of all human relations, the most simple and 
permanent one is that of parent and child. The loyalty which makes a 
clansman account his own interests as trifling in comparison with those 
of his chieftain, or subjects consider their own prosperity as included in 
their sovereign's, belongs to a disappearing society; the affection of the 
sexes is dependent, for tiie form of its manifestation, on the varying 

* The same Greek word, kora, signifies maiden and doll. 



The Conservatism of Children. 29 

usages of nations; but the behavior of little children, and of their parents 
in reference to them, has undergone small change since the beginnings of 
history. Homer might have taken for his model the nnrsery of our own 
day, when, in the words of Achilles' rebuke to the grief of Fatroclns, he 
places before us a Greek mother and her baby — 

Patrochis, why dost thou weep, Uke a child too young- to speak plainly, 
A girl who runs after her mother, and cries in arms to be taken. 
Catching hold of her garment, and keeping her back from her errand, 
Looking up to her tearful, until she pauses and lifts her? 

And the passage is almost too familiar to cite — 

Hector the radiant spoke, and reached out his arms for the baby ; 

But the infant cried out, and hid his face in the bosom 

Of his nurse gayly-girdled, fearing the look of his father. 

Scared by the gleam of the bronze, and the helmet crested with horse-hair, 

Dreading to see it wave from the lofty height of the forehead. 

In the same manner, too, as the feelings and tastes of children have 
not been changed by time, thej^ are little altered by civilization, so that 
similar usages may be acceptable both to the cultivated nations of Europe 
and to the simpler races on their borders. 

It is natural, therefore, that the common toys of children should be 
world-old. The tombs of Attica exhibit dolls of classic or ante-classic 
time, of ivory or terra-cotta, the finer specimens with jointed arms or legs. 
Even in Greece, as it seeins, these favorites of the nursery were often 
modelled in wax ; they were called by a pet name, indicating that their, 
owners stood to them in the relation of mamma to baby ; they had their own 
wardrobes and housekeeping apparatus. The Temple of Olympian Zeus 
at Elis contained, says Pausanias, the little bed with which Hippodamia 
had played. But the usage goes much further back. Whoever has seen 
the wooden slats which served for the cheaper class of the dolls of ancient 
Egypt, in which a few marks pass for mouth, nose, and eyes, will have no 
difficulty in imagining that their possessors regarded them with maternal 
affection, since all the world knows that a little girl will lavish more ten- 
derness on a stuffed figure than on a Paris doll, the return of affection 
being proportional to the outlay of imagination. 

"When Greek and Roman girls had reached an age supposed to be su- 
perior to such amusements, they were expected to offer their toys on the 



30 Gaines and Songs of American Children. 

altar of their patroness, to whatever goddess might belong that function, 
Athene or Artemis, Diana or Venus Libitina. If such an act of devotion 
was made at the age of seven years, as alleged, one can easily understand 
that many a child must have wept bitterly over the sacrifice. To this 
usage refers the charming quatrain, a version of which we have set as 
the motto of our chapter. 

Children's rattles have from the most ancient times been an important 
article of nursery furniture. Hollow balls containing a loose pebble, 
which served this purpose, belong to the most ancient classic times. 
These " rattles," however, often had a more artistic form, lyre-shaped with 
a moving plectrum ; or the name was used for little separate metallic fig- 
ures — " charms," as we now say — strung together so as to jingle, and worn 
in a necklace. Such were afterwards preserved with great care; in the 
comic drama they replace the "strawberry mark" by wdiich the father 
recognizes his long-lost child. Thus, in the "Rudens" of Plautus, Palse- 
stra, who has lost in shipwreck her casket, finds a fisherman in possession 
of it, and claims her property. Both agree to accept Dsemones, the un- 
known father of the maiden, as arbiter. Dsemones demands, " Stand off, 
girl, and tell me, what is in the wallet ?" " Playthings." * " Right, I see 
them ; what do they look like?" " First, a little golden sword with letters 
on it." "Tell me, what are the letters?" "My fathers name. Then 
there is a two-edged axe, also of gold, and lettered; my mother's name is 
on the axe. . . . Then a silver sickle, and two clasped hands, and a little 
pig, and a golden heart, whicli my father gave me on my birthday." " It 
is she ; I can no longer keep myself from embracing her. Hail, my 
daughter !" 

In the ancient North, too, children played with figures of animals. 
The six-year-old Arngrim is described in a saga as generously making a 
present of his little brass horse to his younger brother Steinolf ; it was 
more suitable to the latter s age, he thought. 

The weapons of boys still preserve the memory of those used by prim- 
itive man. The bow and arrow, the sling, the air-gun, the yet more 
primeval club or stone, are skilfully handled by them. Their use of the 
top and ball has varied but little from the Christian era to the present day. 
It is, therefore, not surprising that many games are nearly the same as 
when Pollux described them in the second century.f Yet it interests us 
to discover that not only the sports themselves, but also the words of 
* Crepundia; literally, rattles. f See Nos. 105 and 108. 



The Conservatism of Children. 31 

the formulas by which they are conducted, are in certain cases older than 
the days of Plato and Xenophon.* 

We have already set forth the history contained in certain appellations 
of the song and dance. If the very name of the chorus has survived in 
Europe to the present day, so the character of the classic round is perpet- 
uated in the ring games of modern children. Only in a single instance, 
but that a most curious one, have the words of a Greek children's round 
been preserved. This is the " tortoise-game," given by Pollux, and we 
will let his words speak for themselves : 

" The tortoise is a girl's game, like the pot y one sits, and is called tor- 
toise. The rest go about asking : 

" O torti-tortoise, in the ring what docst thou ?" 
She answers : 

" I twine the wool, and spin the fine Milesian thread." 
The first again : 

" Tell us, how was it that thy offspring died ?" 
To which she says : 

" He plunged in ocean from the backs of horses white." 

Our author does not tell us how the game ended ; but from his com- 
parison to the " pot-game "f we conclude that the tortoise immediately 
dives into the "ocean" (the ring) to catch whom she can. 

This quaint description shows us that the game-formulas of ancient 
times were to the full as incoherent and obscure as those of our day fre- 
quently are. The alliterative name of the tortoise,:}: too, reminding us of 
the repetitions of modern nursery tales, speaks volumes for the character 
of Greek childish song. 

Kissing games, also, were as familiar in the classic period as in later 
time ; for Pollux quotes the Athenian comic poet Crates as saying of a 
coquette that she " plays kissing games in rings of boys, preferring the 
handsome ones." 

It must be confessed, however, that we can offer nothing so graceful 

* See Nos. 91, 92, and 93. 

f "The pot-game — the one in the middle sits, and is called a pot; the rest tweak him, 
or pinch him, or slap him while running round ; and whoever is caught by him while so 
turning takes his place." We might suppose the disconnected verse of the "tortoise- 
game" to be imitated, perhaps in jest, from the high-sounding phrases of the drama. 

X " Cheli-chelone," torti-tortoise. 



32 Games and Songs of American Children. 

as the cry with which Greek girls challenged each other to the race, an 
exclamation which we may render, " ]^ow, fairies !" * — the maidens assum- 
ing for the nonce the character of the light-footed nymphs of forest or 
stream. 

Coming down to mediaeval time, we find that the poets constantly 
refer to the life of children, with which they have the deepest sympathy, 
and which they invest with a bright poetry, putting later writers to shame 
by comparison. That early period, in its frank enjoyment of life, was 
not far from the spirit of childhood. Wolfram of Eschenbach represents 
a little girl as praising her favorite doll : 

None is so fair 

As my daughter there. 

The German proverb still is " Happy as a doll." 

It has been remarked how, in all times, the different sex and destiny 
of boys and girls are unconsciously expressed in the choice and conduct of 
their pleasures. " Women," says a writer of the seventeenth century, 
" have an especial fondness for children. That is seen in little girls, who, 
though they know not so much as that they are maids, yet in their 
childish games carry about dolls made of rags, rock them, cradle them, 
and care for them ; while boys build houses, ride on a hobby-horse, busy 
themselves with making swords and erecting altars." 

Like causes have occasioned the simultaneous disappearance of like 
usages in countries widely separated. In the last generation children still 
sang in our own towns the ancient summons to the evening sports — 

Boys and girls, come out to play, 
The moon it shines as bright as day ; 

and similarly in Provence, the girls who conducted their ring-dances in 
the public squares, at the stroke of ten sang : 

Ten hours said, 
Maids to bed. 

But the usage has departed in the quiet cities of Southern France, as in 
the busy marts of America. 

It is much, however, to have the pleasant memory of the ancient rules 
which youth established to direct its own amusement, and to know that 

* "PhittaMeliades," 



The Conservatism of Children. 33 

our own land, new as by comparison it is, has its legitimate share in the 
lore of childhood, in considering which we overleap the barriers of time, 
and are placed in communion with the happy infancy of all ages. Let us 
illustrate our point, and end these prefatory remarks, with a version of the 
description of his own youth given by a poet of half a thousand years 
since — no mean singer, though famous in another field of letters — the 
chronicler Jean Froissart. He regards all the careless pleasures of in- 
fancy as part of the unconscious education of the heart, and the thought- 
less joy of childhood as the basis of the happiness of maturity ; a deep 
and true conception, which we have nowhere seen so exquisitely devel- 
oped, and which he illuminates with a ray of that genuine genius which 
remains always modern in its universal appropriateness, when, recounting 
the sports of his own early life,* many of which we recognize as still 
familiar, he writes: 

In that early childish day 

I was never tired to play 

Games that children every one 

Love until twelve years are done; 

To dam up a rivulet 

With a tile, or else to let 

A small saucer for a boat 

Down the purling gutter float; 

Over two bricks, at our will, 

To erect a water-mill ; 

And in the end wash clean from dirt. 

In the streamlet, cap and shirt. 

We gave heart and eye together 

To see scud a sailing feather; 

* Froissart's account of the school he attended reminds us of the American district 
school, and his narration lias the same character of charming simplicity as his allusion to 
playing with the boys of our street. 

After I was put to school, 

Where ignorance is brought to rule, 

There were girls us young as I; 

These I courted, by-cmd-by. 

Little trinkets offering — 

A pear, an apple, or glass ring ; 

For their favor to obtain 

Seemed great prowess to me then, 

And, sober earnest, so it is. 



34 Games and Songs of American Children. 

And now and then it pleased us well 

To sift dust through a pierced shell 

On our coats; or in time ripe, 

To cut out a wheaten pipe. 

In those days for dice and chess 

Cared we busy children less 

Than mud pies and buns to make, 

And heedfully in oven bake 

Of four bricks ; and when came Lent, 

Out was brought a complement 

Of river-shells, from secret hold. 

Estimated above gold, 

To play away, as I thought meet, 

With the children of our street; 

And as they tossed a counter, I 

Stood and shouted, " Pitch it high T 

When the moon was shining bright 

We would play in summer night 

Pince-merine ; and time so passed, 

I was more eager at the last 

Than outset, and I thought it shame 

When I was made to stop my game. 

More to tell, we practised too 
The sport entitled Queue loo loo* 
ffook, Trottot Merlot, Pebbles, Ball ; 
And when we had assembled all. 
Pears, swiftly running ; or were lief 
To play at Engerrant the Thief. 
Now and then, for a race-course. 
Of a stafE we made a horse, 
And called him Gray ; or, in knight's guise, 
We put our caps on helmet-wise ; 
And many a time, beside a maid, 
A mimic house of shells I made. 
Upon occasions we would choose 
The one who hit me I accuse. 
Take Colin off ; and by-and-by 
Selected King who does not lie, 
Ring, Prison-bars ; or were content, 
When in-doors, with Astonishment, 
* For the games here mentioned, compare note in Appendix, 



The Conservatism of Children. 35 

Oats^ Scorn, or Riddles ; nor forget 
Replies, and Grasses, Cligne-musette, 
Retreat, and Mule, and Hunt the Hare ; 
Leaping and Palm-ball had their share, 
Salt Cowshorn, and Charette Michaut ; 
And oftentimes we chose to throw 
Pebbles or pence against a stake ; 
Or small pits in the ground would make, 
And play at nuts, which he Avho lost. 
His pleasure bitterly was crossed. 
To drive a top was my delight 
From early morning until night; 
Or to blow, single or double, 
Through a tube a bright soap-bubble. 
Or a batch of three or four. 
To rejoice our eyes the more. 
Games like these, and more beside, 
Late and early have I plied. 

Followed a season of concern ; 
Latin I was made to learn ; 
And if I missed, I was a dunce, 
And must be beaten for the nonce. 
So manners changed, as hands severe 
Trained me to knowledge and to fear. 
Yet lessons done, when I was free. 
Quiet I could never be. 
But fought with my own mates, and thus 
Was vanquished or victorious; 
And many a time it was my fate 
To come home in a ragged state 
And meet reproof and chastisement ; 
But, after all, 'twas pains misspent; 
For, let a comrade come in sight. 
That moment I had taken flight. 
And none could hinder; in that hour 
Pleasure unto me was power. 
Though oft I found, as I find still, 
The two inadequate to my vpill. 

Thus I did the time employ — 
So may Heaven give me joy — 
That all things tended to my pleasure, 



36 . Games and Songs of American Children. 

Both my labor and my leisure, 
Being alert and being still ; 
Hours had I at my own will. 
Then a wreath of violets, 
To give maids for coronets, 
Was to me of more account 
Than the present of a count. 
Twenty marks, would be to-day; 
I had a heart content and gay, 
And a soul more free and light 
Than the verse may well recite. 

So, to fashion form and feature, 
Co-operated Love and Nature : 
Nature made the body strong, 
And forces that to Love belong. 
Soft and generous the heart ; 
Truly, if in every part 
Of the body soul did live, 
I should have been sensitive ! 
Not a splendor upon earth 
I esteemed so seeing-worth 
As clustered violets, or a bed 
Of peonies or roses red. 

When approached the winter-time, 
And out-of-doors was cold and rime. 
No loss had I what to do. 
But read romances old and new. 
And did prefer, the rest above, 
Those of which the theme was love, 
Imagining, as on I went. 
Everything to my content. 
Thus, since infantine delight 
Oft inclines the heart aright. 
After his own living form 
Love my spirit did inform. 
And pleasure into profit turned ; 
For the fortitude I learned, 
And the soul of high emprise, 
Hath such merit in my eyes, 
That its worth and preciousness 
Words of mine cannot express. 



GAMES AND SONGS OF AMERICAN CHILDREN 



I 

LOVE-GAMES. 

— Many a faire tourning, 
Upon the grene gras springyng. 

The Romaunt of the Rose. 

No. 1. 

Knights of Spain. 

This ancient and interesting, now nearly forgotten, game was in the 
last generation a universal favorite in the United States, imported, no 
doubt, by the early settlei'S of the country ; and was equally familiar, in 
numerous variations, through England and Scotland. It is not, however, 
the exclusive property of 'English-speaking peoples, but current under a 
score of forms throughout Europe — from Latin France, Italy, and Spain, 
to Scandinavian Iceland, from the Finns of the Baltic coast to the Slavs of 
Moravia. Its theme is courtship ; but courtship considered according to 
ancient ideas, as a mercantile negotiation. To "buy" a bride was the 
old Norse expression for marriage, and in a similar sense is to be under- 
stood the word "sold" in our rhyme. The frankly mercenary character 
of the original transaction ceasing to be considered natural, it was turned 
into a jest or satire in Sweden and Scotland, The present song assumed 
all the grace and courtesy characteristic of the mediaeval English ballad, 
while a primitive form survived in Iceland ; and a later outgrowth (our 
No. 3) represented the whole affair as one of coquetry instead of bar- 
gaining, substituting, for the head of the house or the mother, the bride 
herself as the negotiator. 

Our first version shows the form of the game as played in New York 
in the early part of the century. 

On a sofa, or row of chairs, a mother, with her daughters on either 
side, seated. Advance three suitors. 



40 Games and Songs of American Children. 

" Here come three lords out of Spain, 
A-courting of your daughter Jane." 

" My daughter Jane is yet too young, 
To be ruled by your flattering tongue." 

" Be she young, or be she old, 
'Tis for the price she may be sold. 

" So fare you well, my lady gay, 
We must turn another way." 

"Turn back, turn back, you Spanish knight, 
And scour your boots and spurs so bright." 

" My boots and spurs they cost you nought, 
For in this land they were not bought. 

" Nor in this land will they be sold, 
Either for silver or for gold. 

" So fare you well, my lady gay, 
We must turn another way." 

" Turn back, turn back, you Spanish knight. 
And choose the fairest in your sight." 

" I'll not take one nor two nor- three. 
But pray, Miss [Lucy], walk with rae." 

The Spanish knight takes the girl named by the hand, and marches off 
with her. Walking round the room, he returns, saying, 

" Here comes your daughter safe and sound. 
In her pocket a thousand pound, 

" On her finger a gay gold ring — 
I bring your daughter home again." 

In Philadelphia the game had a peculiar ending, which, however, as we 
shall see, preserved, though in a corrupt form, an ancient trait : 

" Here comes your daughter safe and sound. 
In her pocket a thousand pound. 



Love-Games. 41 

"On her finger a gay gold ring: 
Will you take your daughter in?" 

" No !" 

The girl then runs away, the mother pursuing her. The Spanisli knight 
catches her, and brings her back, saying, 

" Here comes your daughter safe and sound, 
In her pocket no thousand pound, 

On her finger no gay gold ring, 
Will you take your dalughter in ?" 

"Yes!" 

The daughter then once more flies, and the Spanish knight has to catch 
lier. 

The following is a New England version ; 

" We are three brethren from Spain, 
Come to court your daughter Jane." 

" My daughter Jane is yet too young 
To be courted by your flattering tongue." 

" Be she young, or be she old, 
It is for gold she must be sold. 

Then fare ye well, my lady gay, 
I must return another day." 

"Come back, come back, you Spanish knight, 
Your boots and spurs shine very bright." 

"My boots and spurs they count you nought, 
For in this town they were not bought." 

"Come back, come back, you Spanish knight. 
And choose the fairest in your sight." 

"This is too black, and that is too brown, 
And this is the fairest in the town." 

The only part of the country, so far as we know, in which the game 
now survives is the neighborhood of Cincinnati, where it is still played 
in a reduced but original form : 



42 Games and Songs of Afnerican Childreii. 

" Here comes a knight, a knight of Spain, 
To court your daughter, lady Jane." 

" My lady Jane, she is too young, 

To be controlled by flattering tongue." 

"Be she young or be she old, 

Her beauty's fair, she must be sold." 

" Gro back, go back, you Spanish man. 
And choose the fairest in the land." 

"The fairest one that I can see. 

Is [Annie Hobart] to walk with me." 

The game now proceeds, " Here come two knights," then with three, four, 
etc., till all the players are mated.* 

It will be proper to add some account of the comparative history of 
this curious game. The English and Scotch versions, tliougli generally 
less well preserved, correspond to our American. But we lind a more 
primitive type in Iceland, where it is, or a few years ago was, an amuse- 
ment of winter evenings, played not by children, but by men and women, 
in a form which indicates a high antiquity. The women ask tlie men, as 
these advance, what they desire ? The latter reply, " a maid," that is, 
wife. The inquiry now is, what will they give? It is answered, stone. 
This tender is scornfully refused, and the suitors retire in dudgeon, but 
return to raise their oifei-, and at last proffer ^0^6?, which is accepted, and 
the controversy ends in a dance. f 

* The game, half a century since, was played by boys as well as girls. New England 
variations are numerous ; thus for the last line of verse 4, ' ' I'll turn my face another way. " 
For verse 7, "Go through the kitchen and through the hall, and choose the fairest one of 
all. " A New York variety puts the last words into the mouth of the bride : ' ' I'm so happy 
that I could sing." 

•}• So in an English variety : 

"I will give you pots and pans, I will give you brass, 
I will give you anything for a pretty lass." 

"No." 

' ' I will give you gold and silver, I will give you pearl, 
I will give you anything for a pretty girl." 

"Take one, take one, the fairest you may see." 

Halliwell, " Nursery Rhymes. " 



Love-Games. 43 

Curionsly enough, modern Scotland retains this song in nearly all the 
rude simplicity of the Icelandic just referred to ; though the negotiation, 
instead of being taken as a matter of course, is turned into a satire, being 
treated as the endeavor of a rich old bachelor to purchase a wife. 

In the stewartry of Kirkcudbright, says Q\\2.mhQ.x%'^ Janet jo is a dra- 
matic entertainment among young rustics on winter evenings. A youth, 
disguised as an old bachelor, enters the room bonnet in hand, bowing, and 
declaring that " he has come to court Janet jo." The goodwife then de- 
mands, " What'll ye gie for Janet jo?" He responds, a "peck of siller," 
but is told, " Gae awa', ye auld carle !" He retires, but soon returns, and 
increases his offer, which is less scornfully rejected, until he proffers " three 
pecks of gowd," which is accepted with the words — 

" Come ben beside Janet jo, 
Janet jo, Janet jo, 
Ye're welcome to Janet jo, 
Janet, my jo." 

The affair then ends in kissing. A comparison of details (such as the 
diminishing scorn of the bargainer, and chagrin of the suitors at each re- 
jection) leaves no doubt that the Icelandic and Scotch forms of the game 
were once (but many centuries since) identical. 

The German versions are numerous, but corrupt, and less ancient and 
characteristic. In one of the most spirited the mother assigns as a reason 
for refusing the suitor, that 

Her tresses are not braided, 
Her wedding-gown not done. 

Similarly, we find in an English fragment, 

My mead's not made, my cake's not baked, 
And you cannot have ray daughter Jane, 

There is a French form, not otherwise especially interesting, which 
resembles our No. 3.* 

More striking than the preceding, and abounding in singular cor- 
respondences with the first three numbers of our own collection, is the 

* The ending is like ours — 

"Prenez la plus jolie de toutes." 
"Voil^ la plus jolic de toute's." 



44 Games and Songs of American Children. 

Italian version, as played in Venice. In this game, one of the rows is 
composed of a boy, who represents the head of the house, and five or six 
girls who stand at his right and left. The other row is formed by the 
ainbassador^ whose suite consists of boys and girls. These last advance 
towards the first row, singing, " The ambassador is come," then, retreat- 
ing, sing a chorus, " Ola, ola, ola." The conversation then proceeds in a 
rhythmical way between the two rows as follows : 

" What dp you wish ?" " A maid." 

"Which maid?" " The fairest." 

" Who is the fairest ?" " Nineta bella." 

" What husband will you give hev?" " A chimney-sweep." 

" That will not do." " The king of France." 

"That will do well." " What dowry will you give her?" 

"A ducat." "It will not do." 

" A zechin a day." " That will do well." 

" Come and take her." " Here I come and take her." 

The "ambassador" advances and takes the girl by the hand ; then, as 
if changing his mind, rejects her, saying as he returns — 

"And now I don't want her!" 
"Why do you not want her?" "She is too little (or ugly)." 

" Is that the trouble ?" " Yes, that is the trouble." 

" Come, let us make peace." " Peace is made." 

The ambassador then takes by the hand the girl, who is presented 
to him by the head of the house ; the two files unite to form a circle, 
and the bride receives the general congratulations of the company, who 
clap their hands, courtesy, and sing,* as in the pretty English equivalent — 

And the bells will ring, and the birds will sing, 
And we'll all clap hands together. 

In Spain, the game is known as the "Embassy of the Moorish King." 
The "King of the Moors" is seated on the ground, with crossed legs, his 
attendants about him. The " ambassador " makes three steps forward, and 

* Eco la Nina al campo — fra tanti suoni e canti; 
Eco la Nina al campo — ola, ola, oM. 

Faciamo un bel' incMno — profondo al suo rispeto; 
Faciamo un bel' inchino— ol^, oM, ola. 



Love-Games. 45 

demands one of his daughters. Tlie king replies, " If I have them, I have 
them not to give away ; of the bread which I eat, they shall eat as well." 
The ambassador withdraws angry: "In discontent I go from the 
king's palace." But the king, repenting, calls after him — 

"Turn thee, knight, come, turn tliee hither, 
The most fair I'll give to thee — 
The most lovely and the sweetest, 
Sweetest rose upon the tree." 

The ambassador crosses hands with one of his train to make a seat, on 
M'hich the bride is placed in triumph, singing — 

" Thus I take her for her marriage, 
Spouse and wedded wife to be." 

The king addresses them on departure — 

" Listen, knight, I do entreat thee, 
Use to her all courtesy." 

And the ambassadors replj^ — 

" She, on throne of splendor seated, 
Shall be shining to behold, 
She shall lodge within a palace, 
She shall dress in pearls and gold." 

It will thus be seen that the three knights originally represent not 
suitors, but envoys. If we remember that marriage, in some simple coun- 
tries, is still conducted through intermediaries, whose duty it is to argue, 
chaffer, and dispute, before coming to the decision all along intended, we 
shall see reason to believe that from a form representing more or less 
literally the usages of primitive society have sprung in the course of 
time a multitude of confused representations, colored by later tastes and 
feelings. 

The spirit and substance of the courteous and chivalric English rhyme 
cannot be later than the fourteenth century ; the identity and primitive 
rudeness of the song in Iceland, Scotland (and, we shall presently add, 
Virginia), supposes an earlier date ; while even then we have to bridge 
the gap between these forms and the Italian. We may, therefore, be tol- 
erably sure that the first diffusion of the game in Europe dates far back 
into the Middle Age. 



46 Games and Songs of American Children. 

:n"o. 2. 

Three Kings. 

This antique rhyme, which comes to us from West Virginia, is a rude 
and remarkable variety of the preceding game, but quite unlike any 
English version hitherto printed. 

We find a singular and apparently connected equivalent in the Faroe 
isles. In the form of the dialogue there in use, as in the present game, 
the suitor is presented in successively higher characters, as a thrall, smith, 
and so on, until he is finally accepted as a prince. The Italian song has 
shown us a similar usage. Thus the surf-beaten rocks, of the North At- 
lantic, with their scanty poj^ulation of fishermen and shepherds, whose 
tongue is a dialect of the ancient [Norse speech, are linked by the golden 
chain (or network) of tradition with the fertile vales of the Alleghanies, 
and the historic lagoons of Venice. 

The corrupt ending, too, compared with the Philadelphia version 
already cited, and with the Venetian game, is seen to rest on an ancient 
basis. The children, having forgotten the happy close, and not under- 
standing the haggling of the suitors, took the "three kings" for bandits. 

On one side of the room a mother with her daughters. On the other 
three wooers, who advance. 

" Here come three soldiers three by three, 
To court your daughter merrily ; 
Can we have a lodging, can we have a lodging, 
Can we have a lodging hei'e to-night ?" 

" Sleep, my daughter, do not wake — 

Here come three soldiers, and they sha'n't take ; 

They sha'n't have a lodging, they sha'n't have a lodging, 

They sha'n't have a lodging here to-night." 

" Here come three sailors three by three, 
To court your daughter merrily ; 
Can we have a lodging," etc. 

" Sleep, ray daughter, do not wake — 

Here come three sailors and they sha'n't take ; 

They sha'n't have a lodging," etc. 



Love-Games. ' ■ 47 

" Here come three tinkers three by three, 
To court your daughter merrily ; 
Can we have a lodging," etc. 

" Sleep, my daughter, do not wake — 

Here come three tinlvcrs and they sha'n't take ; 

They sha'n't have a lodging," etc. 

" Here come three kings, three by three, 
To court your daughter merrily ; 
Can we have a lodging," etc. 

" Wake, my daughter, do not sleep — 

Here come three kings, and they shall take ; 

They hIwII have a lodging, they shall have a lodging. 

They shall have a lodging here to-night." 

{To the kings) — 

" Here is my daughter safe and sound, 
And in her pocket five hundred pound, 
And on her finger a plain gold ring, 
And she is fit to walk with the king." 

(The daughter goes with the kings ; but they are villains in disguise : 
they rob her, push her back to her mother, and sing) — 

" Here is your daughter not safe and sound, 
And in her pocket not five hundred pound, 
And on her finger no plain gold ring. 
And she's not fit to walk with the Idng." 

(The mother pursues the kings, and tries to catch and beat them). 

Charlestown, W. Va. 

No. 3. 

Here Comes a Duke. 

This rhyme is only a later development of the same game. The suitor 
is now made to address himself directly to his mistress, and the mercenary 
character of the previous transaction is replaced by coquetry. Our New 
England song loses nothing by comparison with the pretty Scotch. 



48 Games and Songs of American Children. 

A company of little girls sit in a row. A little girl from the middle 
of the room goes dancing up to the first one in the row, singing, 

" Here comes a duke a-roving, 

Roving, roving, 
Here comes a duke a-roving, 

With the ransy, tansy, tea ! 
With the ransy, tansy, tario ! 

With the ransy, tansy, tea ! 
Pretty fair maid, will you come out. 
Will you come out, will you come out. 
To join us in our dancing?" 

Little girl answers, 

" No." 

Suitor steps backward, singing, 

" Naughty girl,* she won't come out, 
She won't come out, she won't come out, 
To join us in our dancing." 

Suitor advances as before. The answer now is, 

" Yes." 

These two now retire, singing together, 

" Now we've got the flowers of May, 
The flowers of May, the flowers of May, 
To join us in our dancing." . 

They join hands and call out the next one in the row ; thus the play 
goes on until the last is selected, when they form a ring, dance, and sing, 

"Now we've got the flowers of May, 
The flowers of May, the flowers of May, 
To join us in our dancing." 

Concord^ Mass. 

* A New Hampshire fragment has here, 

"The scornful maid, she won't come out," 
which seems more genuine. 



Love-Games. 49 

vulgarized form of the 
States 



A vulgarized form of the same game is common through the Middle 



Boys. " We are three ducks a-roving, (thrice) 

With a ransom dansom rfee." 

Girls. "What is your good-wih, sir?" etc. 

Boys. " My good-will is to marry," etc. 

Girls. "Which one of us will you have, sir?" etc. 

Boys. " You're all too black and blowzy," etc. 

Girls. " We are as good as you, sir," etc. 

Boys. " Then I will take you, miss," etc. 

The pretended quarrel between intermediaries has here become a 
dispute of the principals.* 

Finally, in the streets of j^ew York the dialogue is made unrecogniz- 
able — 

The Ring. " Forty ducks are riding. 

My dilsey dulsey officer ; 
Forty ducks are riding, 

My dilsey dulsey day. 
Which of the lot do you like best?" 
Child in Centre. " You're all too black and ugly — ugly," etc. 
The Ring. " We're not so black as you are," etc. 

The child then selects a partner, when the rest sing, 

" Open the gates and let the bride out," etc. ; 

and the couple pass under lifted hands, circle the ring, and similarly re- 
enter, to the words, 

" Open the gates and let the bride in," etc. 

We have thus a curious example of the way in which an apparently 
meaningless game, which might be supposed the invention of the gamins 

* An English variety, printed a century since in "Gammer Gurton's Garland," has as 

the first line of the refrain, 

My-a-dildin, my-a-daldin ; 
and as the alternate line, 

Lily white and shine-a. 

The last phrase comes to us as the fragment of a game in Massachusetts, about 1800. Wo 
are reminded of the songs of Autolycus in "A Winter's Tale," "with such delicate bur- 
dens of dildos and fadings, " 

4 



50 Games and Songs of American Children. 

of the street, is, in fact, a degenerate form of the ancient poetry, which 
was briuifnl of grace, courtesy, and the joy of existence. 

For a purpose presently to be mentioned, we must cite the correspond- 
ing Scotch rhyme, given by Chambers : 

A dis, a dis, a green grass, 

A dis, a dis, a dis ; 
Come all ye pretty fair maids, 

And dance along with us. 

For we are going a-roving, 

A-roving in this land ; 
We'll take this pretty fair maid, 

We'll take her by the hand. 

Ye shall get a duke, my dear, 

And ye shall get a drake ; 
And ye shall get a young prince, 

A young prince for your sake. 

And if this young prince chance to die, 

Ye shall get another ; 
The bells will ring, and the birds will sing, 

And we'll all clap hands together. 



^0.4. 
Tread, Tread the Green Grass. 

Tread, tread the green grass. 

Dust, dust, dust ; 
Come all ye pretty fair maids 

And walk along with us. 

If you be a fair maid, 

As I suppose you be, 
I'll take you by the lily-white hand 

And lead you across the sea. 



Philadelphia. 



With this musical call to the dance, it was common, a generation since, 
for girls in this town to begin the evening dances on the green, singing 



Love-Games, 5 1 

as they marched in couples. The "dust" of the rhyme is a corruption. 
Comparing it with the Scotch song previously quoted, we do not doubt 
that it represents the Scotch (in other words, old English) adut^ the oppo- 
site of ayont, meaning this way, come hither. We ought probably there- 
fore to read, 

Tread, tread the green grass, 

Adist, adist, adist. 

This song was no mere dance of rustics ; the children at least kept up 
the usage of the day when a pleasing popular poetry was the heritage of 
all ranks. The spirit of the strain carries us back to that "carolling" 
of ladies which was, in tlie time of Chaucer, no less than the gay green of 
the meadow or the melody of the birds, an accompaniment of summer. 



No. 5. 
ni Give to You a Paper of Pins. 

This pretty and interesting, hitherto unprinted, children's song is more 
or less familiar throughout the Middle States. We have heard it with 
many variations from persons of all classes and ages. It may often be 
listened to in the upper part of the city of New York, as it is sung (with 
a mere apology for a melody) by three or four girls, walking with arms 
entwined, or crooned by mere infants seated on the casks which, in the 
poorer quarters, often encumber the sidewalk. 

There are also English and Scotch versions, generally inferior as re- 
gards poetical merit and antiquity of language. The English form, how- 
ever, seems to contain the primitive idea, where the wooer appears as a 
prince, who by splendid presents overcomes the objections of a lady. 
This mercenary character being repugnant to modern taste, the Scotch 
rhyme represents the suitor as the Evil One in person ; while in the 
United* States the hero is, in his turn, made to cast off the avaricious fair, 
or else the lady to demand only love for love. 

The numerous couplets of the American rhyme are completely in the 
ballad style. A "paper of pins" is substituted for a " pennorth of pins." 
The "easy-chair" is modern, but the verse itself ancient, combing golden 
hair being a world-old occupation of beauties. The gown " trimmed with 
golden thread," or " set off with a golden crown," refers to the attire of 
olden times. The mediseval bride wore a crown on the head and flowing 



5 2 Games and Songs of American Children. 

hair; a costume also mentioned in old ballads as the usual dress of a 
demoiselle of rank arrayed for the dance. 

"I'll give to you a paper of pins, 
And that's the way my love begins; 

If you will marry me, me, me, 

If you will marry me." 

" I don't accept your paper of pins, 
If that's the way your love begins ; 

For I won't marry you, you, you, 

For I won't marry you." 

" I'll give to you an easy-chair, 

To sit in and comb your golden hair. 

" I'll give to you a silver spoon, 
To feed your babe in the afternoon. 

*' I'll give to you a dress of green, 
To make you look like any queen.* 

"I'll give to you the key of my heart, 
For you to lock and never to part. 

" I'll give to you the key of my chest. 
For you to have money at your request." 

" I do accept the key of your chest, 
For me to have money at my request; 

And I will marry you, you, you, 

And I will marry you." 

" Ha, ha, ha, money is all, 
And I won't marry you at all; 

For I won't marry you, you, you, 

For I won't marry you," 

This is from a New York child ; our next version is from Connecticut '. 

* Here verses may be improvised at pleasure; for instance, said the little reciter, 
"I'll give to you a dress of black, 
A green silk apron and a white cap. 
If you will marry," etc. 



Love-Games. 



53 



^ 



Oh, miss, I'll give you a 



per of pins, If you will tell me how 



=^ 



BS 



■^ — ^-^ 



4e; 



^' 



1^:^^ 



■m=^- 



■t tr -g- -^ --'--S^—S— -S- -g- ^^:5— 5-— 5— :5-- 
love begins : If you will mar-ry, mar-ry, niar-ry, If you will marry me. 




" miss, I'll give you a paper of pins, 
If you will tell me how love begins: 

If you will marry, marry, marry, 

If you will marry me." 

" I'll not accept your paper of pins, 
And I won't tell you how love begins; 

For I won't marry, marry, marry, 

For I won't marry you." 

" O miss, I'll give you a coach and six. 
Every horse as black as pitch. 

" O miss, I'll give you a red silk gown. 
With gold and laces hanging round. 

*' miss, I'll give you a little gold bell, 

To ring for the waiter* when you are not well. 

" miss, I'll give you the key to my heart, 
That we may lock and never part. 

" miss, ril give you the key to my chest. 
That you may have money at your request." 

"I will accept the key of your chest. 
That I may have money at my request." 

" Ah, I see, money is all. 
Woman's love is none at all ; 

And I won't marry, marry, marry, 

And I won't marry you." 



* In the English version " to ring up your maidens." 



54 Games and Songs of American Children. 

Finally, we have a v^ariation with a more tender conclusion : 

"Will you have a paper of pins? 
For that's the way my love begins — 

And will you marry me, me, me, 

And will you marry me ?" 

" No, I'll not have a paper of pins. 
If that's the way your love begins." 

" Will you have a little lap-dog, 
Who may follow you abroad ? 

" Will you have a coach and four. 
Footman behind and footman before ? 

" Will you have a dress of red, 

All trimmed round with golden thread? 

" Will you have a satin gown, 
All set off with a golden crown ? 

" Will you have the key to my chest, 
To draw out gold at your request? 

" Will you have the key to my heart. 
That we may love and never part?'' 

" Yes, I will have the key to your heart. 
That we may love and never part. 

And I will marry you, you, ^ot, 

And I will marry 5'ou." 

The same idea is contained in a song originally Scotch, but which 
comes to us (through an Irish medium) from Pennsylvania : 

"Will you come to the Highland braes. 

Bonny lassie, Highland lassie? 
Will you come to the Highland braes. 

My bonny Highland lassie f 

The reply is, " ISTa, na, it will not dee, bonnie laddie," etc. : when the wooer 
gradually increases his offers : 

" I will give you a golden comb. 

If you will be mine and never roam ;" 



Love-Games. 



and finally inquires, 



" Will you go to the kirk with me, 
There to be my wedded wife?" 



which is eagerly accepted 



" And them's the words away to town, 
And I will get my wedding-gown." 



55 



No. 6. 

There She Stands, a Lovely CreaUire. 

This pretty song has been recited to us by informants of the most 
cultivated class, and, on the other hand, we have seen it played as a round 
by the very " Arabs of the street," in words identically the same. It is 
an old English song, which has been fitted for a ring-game by the compo- 
sition of an additional verse, to allow the selection of a partner. 












— b^ — I- 






There she stands, a love - ly crea - ture. Who she is. 



I do not know ; 

A 



E3=-; 



:43Zi: 



:t= 



=t= 



-x^- 



r=q^- 






J=^: 



S^==^ 



iE 



eI==^ 



i=^= 



rz:=isr: 



I have caught lier for her beau - ty, Let her an - swcr, yes or no. 



HI 






WM^^m 



"There she stands, a lovely creature, 
Who she is, I do not Ivuow ; 

I have caught her for her beauty, — 
Let her answer, yes or no. 

" Madam, I have gold and silver. 
Lady, I have houses and lands, 

Lady, I have ships on the ocean, 
All I have is at thy command." 



56 Games and Songs of American Children. 

"What care I for your gold and silver, 
What care I for your houses and lauds, 

What care I for your ships on the ocean — 
All I want is a nice young many 



New Yo'rk. 



Green Grow the Rushes., 0! 

In former times, the amusements of yonng people at their winter- 
evening gatherings consisted almost entirely of " playing games." On 
such occasions the following rhyme was used (in eastern Massachusetts) 
about the beginning of the century, to select partners for the ring. 
Chairs were placed in a circle, and the players of one sex seated, so as to 
leave alternate vacant places, for which they chose occupants, singing-^ 

"Green grow the rushes, O! 
Green grow the rushes, O ! 
He who will my true love be, 
Come and sit by the side of me." 

Those waiting to be selected sang, 

"Pick and choose, but choose not me, 
Choose the fairest you can see." 

This dialogue was repeated for each player until all were taken in, 
which, if the party was numerous, of necessity took a long time. 



No. 8. 

The Widow with Daughters to Marry. 

A child, representing a mother, is followed by a file of daughters, 
each grasping the fi'ock of the girl in front. 

There comes a poor widow from Barbary-land,* 
With all her children in her hand ; 

* Variation: "Here comes an old woman from Sunderland," or "Cumberland." 



Love-Games. 57 

One can brew, and one can bake, 
And one can make a wedding-cake; 

Pray take one, 

Pray take two, 

Pray take one that pleases yon.* 7-, 7 .7 777. 

Jrhiladebphia. 

The "poor widow" is also represented as having onlj one daughter 

left. 

Sister, O Phoebe, how happy we be, 

As we go under the juniper-tree ! 

We'll put on our night-caps to keep our heads warm, 

And two or three kisses will do us no harm — 

Will do us no harm, lo ! 

I am a poor widow, a-marching around, 

And all of my daughters are married but one ; 

So rise up my daughter, and kiss whom you please, 

And kiss whom you please, lo ! 

Philadelphia. 

Another old version of this round : 

I am a rich widow, I live all alone, 
I have but one daughter, and she is my own ; 
Go, daughter, go choose, go choose your one, 
Gro choose a good one, or else choose you none. 

New York. 

Finally, we have the modern corruption of the street, which, however, 
shows us the manner of playing: 

A child stands in the ring, as the motlier. The daughter reclines as if 
asleep, her head resting on her hands, till the words, rise up. 

Here stands a poor widow a-walking around, 
lo ! lo ! lo ! 

* In Canada the game goes : 

J'ai tant d'enfants a marier! 
J'ai tant d'enfants a marier! 
Grand Dieu! je n' sais comment 
Pouvoir en mai'ier tant. 

Mademoiselle, on parle a vous; 
On dit que vous aimez beaucoup; 
Si c'est vrai que vous aimez, 
Entrez dans la danse, entrezi 



58 Games and Songs of American Children. 

So put on the night-cap to keep her head warm, 

To keep her head warm, lo ! 
So rise up my daughter, and kiss whom you please, 

And kiss whom you please, lo ! 

New Yorh. 

The widow with daughters to marry is a European celebrity. The 
titles rich and j^oor, moreover, in this and the last number, are not mean- 
ingless, but show that two independent characters have been united in 
one. In the original European game, which we have not encountered in 
an English form, there is both a rich and ?i. poor mother; the latter begs 
away, one by one, the daughters of the former, until she has secured all. 
The present round and the preceding are only reductions, or adaptations 
to the dance, of this more ancient and dramatic game. Once more, the 
game of the rich and poor mothers, though centuries old, and existing in 
many European tongues, is itself but an outgrowth of a still more ancient 
childish drama, which has given birth to innumerable sports, dances, and 
songs, exhibiting very different external characteristics all over Europe, 
but of which primitive and complete versions at present seem to exist 
only in America.* 



No. 9. 

Philander' s March. 

This rhyme has been familiar throughout the [New England States. 
Some of our older readers will remember how the doors of all the apart- 
ments of an old-fashioned mansion, with its great chimney in the centre, 
would be thrown open at an evening party, and the children march 
through the house, and up and down the staircase, singing the familiar 

air — 

Come, Philanders,! let's be a-marching. 
Every one choose from his heartstrings', J 
Choose your true love now or never. 
And be sure you choose no other. 

* See Note; also No. 154, and Note. f Usually plural. 

X Or, dialectically, " every one his true lover sarcMng." 



Love-Games. 59 

O, my dear , how I do love you ! 

Nothing on earth do I prize above you ! 
With a kiss now let me greet you, 
And I will never, never leave you. 

Plymouth^ Mass. (about 1800). 
Another version : 

Come, Philander, let us be a-marching, 
From the ranks there's no deserting, 
Choose your own, your own true lover. 
See that you don't choose any other ; 
Now farewell, dear love, farewell, 
We're all a-marching, so farewell. 

Deerfield, Mass. 

Why, of all the names of the Damon and Sylvia class, Philander,^ 
which, according; to derivation, should mean fondness for the male sex, 
came to be a proverbial expression for an amorous person, and con- 
tributed to the English language a verb (to philander) we cannot say. 
Children's intelligence made wild work of the word. A ISFew England 
variation was, " Come, Lysanders f and in Pennsylvania, on the Mary- 
land border, the first line has been ingeniously distorted into " Cumher- 
land city -town-hoys'''' marching! Cumberland being a town in the latter 
state. 



InTo. 10. 
Marriage. 

(1.) By this name was known in Massachusetts, at the beginning of the 
century, an elaborate dance (for such, though practised in a Puritan com- 
munity, it really was) which lias a very decided local flavor. 

Partners having been chosen, the girl says — 

"Come, my dearest partner, and join both heart and hand; 

You want you a wife, and I want me a man. 

So married we will be, if we can agree. 

We'll march down together, so happy are we." 

* "Were his men like him, he'd command a regiment of Damons and Pidlanders." — 
" Two Faces under One Hood," by Thomas Dibdin. 



6o Games and Songs of American Children. 

The partners now separate, the lad saying — 

" Now I must part, and leave you alone, 

So fare you well, my true love, till I return." 

The maid replies — 

" I mourn, I mourn, for that is the cry, 
I'm left all alone, and I'm sure I shall die." 

But, after walking round, rejoins her partner, who welcomes her — 

" Oh, here comes my love, and how do you do ? 
And how have you been since I parted with you?" 

The pair then address the row — 

" There is a scene secure from all harm, 

Please to give us joy by the raising of the arm." 

The other players, who stand each lad opposite his lass, raise arms, and the 
couple walk down under the arch so formed, pausing at the foot — 

" Now we are married, and never more to part. 
Please to give a kiss from the bottom of the heart." 

And the game proceeds with the next couple. 

Scituate^ Mass. (about 1800). 

(2.) No better as respects poetry, but with more evidence of old Eng- 
lish origin, is the following game, in which couples circle in a ring about 
two chairs, from time to time changing partners. We have not been 
clearly informed of the way of playing, but presume that at the time 
of the change the youth or girl in the ring must select a mate. 

" On the green carpet here we stand, 
Take your true love in your hand ; 
Take the one whom you profess 
To be the one whom you love best." 

A ciiange of partners. 

" Very well done, said Johnny BrowL, 
Is this the way to London town ? 
Stand ye here, stand ye there, 
Till your true love doth appear." 



Love-Games. 6 1 

A mate is finally chosen, and the ring sings — 

"Oh, what a beautiful choice you've madel 
Don't you wish you'd longer stayed ? 
[Grive her a kiss, and send her awaj, 
And tell her she can no longer stay."*] 

Salem, Mass. 

The "green carpet" is, of course, the grass, on which the village dance 
proceeds in the summer -time,f and the remains of an ancient "carol" 
appear in the corrupt rhjme. 

(3.) To the game of Marriage, as played in France and Italy, the fol- 
lowing closely corresponds : 

A boy and girl having been chosen by singing our No. 17, and stand- 
ing in the centre of the ring, the game proceeds, with imitative motion 
and gesture — 

"Row the boat! Row the boat! 
Let the boat stand ! 

I think is a handsome young man ; 

I think is as handsome as he, 

And they shall be married, if they can agree.";}; 

Such short rhymes are not used independently, but joined to some frag- 
ment of a ballad, which they serve to turn into a game, as may be seen in 
our No. 12. 

* From another version. 
t As Lodge has it — 

Footing it featlie on the grassie ground, 

These damsels circling with their brightsome faires — 

X Fifty years ago the corresponding French game was still played as a " game of society " — 
Eh! qui marirons-nous? 

Mademoiselle, ce sera vous: 

Entrez dans la danse; 
J'aimerai qui m'aimera, j'aimerai qui m'aime. 

The round then proceeds — 

Eh! qui lui donnerons-nous? 

Mon beau monsieur, ce sera voua. 
Amans, embrassez-vous, etc. 



62 Games and Songs of American Children. 

(4.) We take this opportunity to give one or two other familiar ex- 
amples of kissing rounds : 

Had I as many eyes as the stars in the skies, 
And were I as old as Adam, 
I'd fall on my knees, and kiss whom I please, 
Your humble servant, madam. 

In Boston, half a century since, this ran — 

As many wives as the stars in the skies. 
And each as vld as Adam, etc. 

In Georgia, at the present day — ■ 

Many, many stars are in the skies, 
And each as old as Adam, etc. 

(5.) The following is yet more inane, yet it furnishes a curious example 
of correspondence — 

" languishes." 

"For whom?" 
" For ." 



This is not much more crude than the French equivalent.* 

(6.) We may add that the familiar American game, known as " Pillow," 
or "Pillows and Keys" (why heysf), in which a player kneels on 2i pillow 
and solicits a kiss, is no doubt a descendant of the " Cushion Dance," 
alluded to by old dramatists. 

" * "Qui est-ce qui languira?" 

' ' Ce sera qui languira. " 

" la guerira." 

French game in Camhrai, 



Histories. 63 



11. 

HISTOBIEa. 

A FRESH wreath of crimson roses 

Round my forehead twine will I; 
I will wear them for a garland, 

Wear them till the day I die. 

I desire that in my coffin 

May be room enough for three ; 
For my father, for my mother, 

And my love to lie with me. 

Afterwards above the coffin 

We will let a flower grow ; 
In the morning we will plant it, 

In the evening it will blow. 

Wayfarers will pause demanding, 
"Whose may be the flower there?" 

" 'Tis the flower of Rosetina, 
■She who died of love's despair." 

Round of Girls in Venice. 

No. 11. 

Miss Jennia Jones. 

This childish drama has been familiar in the Middle States since the 
memory of the oldest inhabitant. The Scotch equivalent shows that the 
heroine's name was originally Jenny jo. "Jo" is an old English word 
for sweetheart, probably a corruption of joy., French joie., used as a term 
of endearment. Jenny my joy has thus been modernized into Miss Jennia 
(commonly understood to be a contraction for Virginia) Jones ! 

The story is originally a love-tale. The young lady, like Rosetina in 



64 Games and Songs of American Children. 

the Yenetiau song (a part of which we have translated above) dies of 
blighted affection and the prohibition of cruel parents. The suitor, in 
America, is represented by feminine friends. Yet the drama has lived ; 
a proof that in singing and playing love-tales the children rather imitated 
their elders than followed a necessity of their own nature. 

From various versions we select the following : 

A mother, seated. Miss Jennia Jones stands behind her chair, or re- 
clines on her lap as if lying sick. A dancer advances from the ring. 

" I've come to see Miss Jennia Jones, 
Miss Jennia Jones, Miss Jennia Jones — 

I've come to see Miss Jennia Jones, 
And bow is she to-day 2" 

" She's up-stairs washing, 

Washing, washing — 
She's up-stairs washing, 

You cannot see her to-day." 

The questions are repeated to the same air for every day of the week, 
and the reply is that Miss Jennia Jones is ironing, baking, or scrubbing. 
She is then represented as sick, as worse, and finally as dead, which an- 
nouncement is received with signs of deep grief. The dancers of the 
ring then discuss the costume in which she shall be buried : 

" What shall we dress her in, 

Dress her in, dress her in ; 
What shall we dress her in — 

Shall it be blue?" 

" Blue is for sailors, 
So that will never do." 

" What shall we dress her in, 
Shall it be red?" 

"Red is for firemen, 
So that will never do." 

" Pink is for babies. 
So that will never do." 

" Green is forsaken, 
So that will never do." 



Histories. 65 

"Black is for mourners, 
So that will never do." 

" White is for dead people, 
So that will just do." 

" Where shall we bury her? 
Under the apple-tree." 

After the ceremonies of burial have been completed, the ghost of Miss 
Jennia Jones suddenly arises — 

" I dreamt I saw a ghost last night, 

Ghost last night, ghost last night — 
I dreamt I saw a ghost last night. 

Under the apple-tree!" 

The ring breaks up, and flies with shrieks, and the one caught is to repre- 
sent Miss Jennia Jones. 

An interesting feature of our game is the symbolism of color. " Each 
of these colors," says an informant, " which denoted a profession, also 
typified a feeling. Thus, blue, which is said to be for sailors^ suggested 
constancyP 

In one version of the game, which comes to us from an Irish source, 
green is for griefs red for joy^ hlack for mourning, and white for death. 
In another such version, white is for angels, and is the chosen color; a 
reading we would willingly adopt, as probably more ancient, and as ex- 
pressing the original seriousness of the whole, and the feeling which the 
color of white symbolized. In more common Irish phrase, green is for 
Irish, yellow for Orangemen. In Cincinnati, jpurjple is for hings and 
queens, gray for Quakers. In a Connecticut variation, yellow is for glad 
folks. 

An English saying corresponds closely to the significance of colors in 

our game : 

Blue is true, yellow is jealous, 
Green is forsaken, red is brazen. 
White is love, and black is death. 

A variation from West Virginia makes the question apply to the dress 
of the mourners, not of the deceased : " What shall we dress in ?" " In 
our red, in our blue," etc., are rejected, and the decision is, " In our white." 

Such imitations of burial ceremonies are not merely imaginative. It 

5 



66 Games and Songs of American Children. 

was once the custom for the girls of a village to take an active part in the 
interment of one of their number. In a Flemish town, a generation since, 
when a young girl died, her body was carried to the church, thence to the 
cemetery, by her former companions. " The religious ceremony over, and 
the coffin deposited in the earth, all the young girls, holding in one hand 
the mortuary cloth, returned to the church, chanting the maiden^s dance 
with a spirit and rhythm scarcely conceivable by one who has not heard it. 
The pall which they carried to the church was of sky-blue silk, having in 
the middle a great cross of white silk, on which were set three crowns of 
silver." 

The following is a rendering of the '''Maiden's Dance :" 

In heaven is a dance ; 

Alleluia ! 
There dance all the maids ; 
Benedlcamus Domino — 

Alleluia ! 

It is for Amelia ; 

Alleluia ! 
We dance like the maids ; 
Benedicamus Domino — 
Alleluia 1 

Such touching customs show the profound original earnestness under- 
lying the modern child's play, as well as the primitive religious signif- 
icance of the dance. In England, too, it was the practice for the bearers 
of a virgin to be maids, as a ballad recites : 

A garland fresh and faire 

Of lilies there was made, 
In signe of her virginity, 

And on her coffin laid. 
Six maidens, all in white, 

Did beare her to the grave. 



Histories. 67 

No. 12. 
Down She Comes as White as Milk. 
This round is remarkable for being introduced, wherever it occurs, by a 
stanza with a different melody, whereby the ballad is turned into a game. 
By this introduction the hero and heroine of the action are selected. 

" Little Sally Waters," or " Uncle John," having been first played, the 
round proceeds about the couple standing in the ring : 

He knocks at the door, and picks up a pin, 
And asks if Miss is in. 

She neither is in, she neither is out, 
She's in the garret a-walking about. 

Down she comes as white as milk, 
A rose in her bosom, as soft as silk. 

She takes off her gloves, and shows me a ring; 
To-morrow, to-morrow, the wedding begins.* 

Co7icord, Mass. {before 1800). 

* The song exhibits numerous niarks of antiquity. "Picks up a pin" was originally, 
no doubt, "pulls at the pin." The word "garret" here appears to correspond to the 
Scandinavian "high-loft," the upper part and living-room of an ancient house. The third 
verse is a very ancient ballad commonplace — 

Sbee's as soft as any silk, 
And as white as any milk. 

"Ballad of Kinge Adler," in the Percy MS. 
Instead of "Water, water, wild-flowers," as printed on the next page, we find in Phila- 
delphia, ' ' Lily, lily, white-flower, " which may have been the original, and reminds us of the 
refrains of certain ballads. In Yorkshire, England, "Willy, rcilly, wallflower." 
A specimen of the quintessence of absurdity is the following street-song: 
Swallow, swallow, weeping 
About a willow tree. 
All the boys in Fiftieth Street 
Are dying down below; 

Excepting 

His love he can't deny, 

For he loves 

And she loves him beside, etc. 
Notwithstanding the vulgarity of these stanzas, and of others which are employed for 
the same purpose, the practice which they illustrate — namely, the adaptation of a ballad to 
the dance by uniting with it a game-rhyme — is no doubt ancient. We have other examples 
in the numbers which follow. 



68 



Games and Songs of American Children. 



The version now played in ISTew York streets is corrupt, but has a 
spirited melody: 



i 



i^=i ^hH— p-f^ 



!te 



^ 



-z±: 



^ 



Wa - ter, wa - ter, •wild -flowers, grow-ing up so higli; We are all young 



— 5- 



3 =3^ 



3 



S 



-a*——*- 



^ 



la - dies, And we are sure to die, Ex - cept - ing Su - sie Al - len. She 



3 



3 



3 



Fed. sost. 



h J J-J--=;t 



^ 



3^ 



:1s=^ 



Se 



^ 



^ 



is the finest flow - er. Fie, fie,fie for shame ; Turn about and tell your beau's name. 




V * ' Fed. V 



The girl complying, the ballad proceeds- 



Mis-ter No-hod-y is a nice young man,He comes to the door with his hat in his hand 



^ 



r*^— gz 



5^^ 



Mr. Nobody is a nice young man, 

He comes to the door with his hat in his hand. 

Down she comes, all dressed in silk, 
A rose in her bosom, as white as milk. 

She takes off her gloves, she shows me her ring, 
To-morrow, to-morrow, the wedding begins. 

The song before us furnishes a good example of the persistency of 
childish tradition. Not only is it still current in New England and the 
Middle States, with words closely corresponding to those given in our 
version of almost a century since, but these words are also nearly identical 
with the language of the round as we are told it is sung at the present 
day in Ireland. 



Histories. 69 

Of a type similar to the foregoing is an ancient and cnrious, but 
unpublished, nursery song,* the first lines of which, at least, will be famil- 
iar to some of our readers : 

Sing, sparrow, sing ! 

What shall I sing ? 

All the boys in our town have gone courting; 

All hut little Charley, 

And he stays at home. 

And he says he'll have Mary, 

Or else he'll have none. 

Row, boat, row ! 

Where shall I row ? 

Up to little Mary's door. 

Out jumps little Charley in his boots and spurs, 

And goes to the door, and pulls at the string — 

"Where's little Mary? Is she within?" 

" Miss Mary's up-stairs, a-making a cap." 
Then down comes Miss Mary, as white as the milk, 
All dressed in pink posies and sweet pretty silk. 
And goes to the cupboard, and takes up the can, 
And drinks to little Charley, a pretty little man. 
He takes her in his lap, and pares her nai]s,f 
And gives her a posy of peacock's tails, 
And rings and jewels fit for her hand. 
And tells little Mary he'll come again. 

The mention in this rhyme of the cupboard and the can carries us 
to a time not so remote indeed in years, but far removed in customs. At 
the beginning of the century, in the old colonial towns, tumblers were 
unknown ; the silver can stood on the table, and was passed from hand 
to hand at the meal, the elders drinking first. This usage was accom- 
panied with much ceremony. An informant (born in Salem, Mass.), 
whose memory goes back almost to the beginning of the century, recol- 
lects how, when it came to be his turn to drink, he was obliged to rise 

* " Lines told to Lydia Jackson (now Mrs. R. W. Emerson, of Concord, Mass.) by her 
aunt, Joanna Cotton, in 1806-7-8, in Plymouth." 

f Observe how the nursery song differs from the children's dance. The nurse wishes 
to persuade the little child in her lap that 'paring nails is a mark of great regard and 
affection, as, while performing that office, she chants the ballad to amuse her charge. 



70 Games and Songs of American Children. 

and wipe his lips (the use of the same vessel by a whole family made this 
habit proper), and repeat the words, while parents and friends laid down 
knives and forks and looked on, " Duty to Sir and Ma'am, respects to 
aunt, love to brother and sister, and health to myself," Sometimes, he 
said, sensitive children would rather "go dry" than endure this ordeal. 



No. 13. 
Little Sally Waters. 

A girl in the centre of the ring, seated, and covering her face with her 
hands. At the word " rise," she chooses and salutes any one whom she 

P^^^^^^' Little Sally Waters, 

Sitting in the sun, 
Crying and weeping, 
For a young man, 
Kise, Sally, rise, 
Dry your weeping eyes, 
Fly to the East, 
Fly to the West, 
Fly to the one you love best. 

In the north of England the heroine's name is Sally Walker: 

Sally Walker, Sally Walker, 

Come spring-time and love — 
She's lamenting, she's lamenting, 

All for her young man. 

A ballad situation has been united with a dance-rhyme. 



No. 14. 

Here Sits the Queen of England. 

Here sits the Queen of England in her chair, 
She has lost the true love that she had last year | 
So rise upon your feet, and kiss the first you meet,. 
For there's many around your chair« 

Georgia. 



Histories. 



71 



No. 15. 

Green Gravel. 

A girl sits in the ring, and turns her head gravely as a messenger 
advances, while the rest sing to a pleasing air — 



f 



^ 



:ff=ff: 



■f=m^ 



sr=r= 



v^-=^- 



:j—e=:^-- 



Green gravel, green gravel, the grass is so green, And all the free ma-sons are ashamed to be seen. 



:^ 



?= 



±^ 



r 

Green gravel, green gravel, the grass is so green, 

And all the free masons (maidens) are ashamed (arrayed f) to be seen ;* 

O Mary, O Mary, your true love is dead, 

The king sends you a letter to turn back your head.f 

There are only two lines left of the ballad, or rather reminiscence 
of one. 

A French round begins similarly: "Ah, the bringer of letters! 
What news is this? Ah, it is news that you must change your love.:{: 
Must I change my love, I prefer to die ; he is not here, nor in France ; he 
is in England, where he serves the gracious king." To this fragment be- 
long the ancient verses which we have set as the motto of Chapter 11. of 
our Introduction. All the other ladies of Paris are at the dance; the 
king's daughter alone " regarde a cote," " turns her head," looking at a 
messenger who is approaching; he brings news of her love's unfaithful- 
ness; a rival skilled in magic arts has enchanted him, in the far country 
where he is warring. There is no more left of the ancient ballad, which, 
we presume, went on to describe her departure in man's costume, and 
rescue of her lover. We cannot prove the identity of our fragment, but 
we see how the child's game may have arisen. 

* " It is on a summer's tide, when ladies' hearts are free and gay, when they go arrayed 
in ermine and silk. The hart strikes his horn against the linden, and the fish leaps in the 
stream. " — Icekindic Ballad. 

f Some little friends, feeling the unsatisfactoriness of the fragment, added a couplet to 
the dance — 

O Mary, O Mary, your true love's not slain. 
The king sends you a letter to turn round again. 

I Eh! la cl^ng^let {'i) de lettres, que nouvelle est celle-ci? 
Eh! ce sent des nouvelles qu'il faut changer d'ami. 



72 Games and Songs of American Children. 

No. 16. 

Uncle John. 

A ring of dancers who circle and sing — 

Uncle John is very sick, what shall we send him ? 

A piece of pie, a piece of cake, a piece of apple-dumpling.* 

What shall we send it in ? In a piece of paper. 

Paper is not finef enough; in a golden saucer. 

Who shall we send it by? By the governor's J daughter. 

Take her by the lily-white hand, and lead her over the water. 

After the words "governor's daughter" all the dancers fall down, and the 

last down stands apart, selects her confidential friend, and imparts with 

great mystery the initials of some boy in whom she takes an interest. 

She then returns, and takes her place in the ring with face reversed, while 

the friend announces the initials, and the dancers sing, using the letters 

given — , ^ ^, 

A. x>., so they say, 

Goes a-courting night and day, 

Sword and pistol by his side. 

And to be his bride ; 

Takes her by the lily-white hand, 

And leads her o'er the water — 

Here's a kiss, and there's a kiss 

For Mr. 's daughter. 

If the person representing " Uncle John " be a boy, his full name comes 
first in this rhyme, and the initials of the girl are used. 

The choice of the confidante is said to require as much deliberation as 
the selection of an ambassador of state. Hartford., Conn. 

This is one of the most familiar of all children's rounds in our coun- 
try. It is, we see, a love-history; and, thrice vulgarized as it is, bears 
traces of ancient origin, and may perhaps be the last echo of the medige- 
val song in which an imprisoned knight is saved from approaching death 
by the daughter of the king, or soldan, who keeps him in confinement. § 

* Or, " Three gold wishes, three good kisses, and a slice of ginger /" 

f Or, "strong." % Or, "king's daughter," "queen's daughter." 

§ See French ballad referred to in the Appendix. 



Histories. 



Ko. 17. 
King Arthur was King William's Son. 
A row of hats of various sizes, and belonging to both sexes, are placed 
on the floor. The leader picks up the first hat, and puts it on his own 
head, marching and singing the verse. He then takes up the next hat, and 
places it on the head of any one he pleases ; the person chosen stands be- 
hind him, and they once more march, singing. The process is continued, 
until all the company are arranged in line : 

King Arthur was King William's son, 
And when the battle he had won, 
Upon his breast he wore a star, 
And it was called the sign of war. 

Orange, New Jersey. 

The following rhyme is exceedingly familiar, throughout the Middle 
and Southern States, as a kissing-round : 



P 



B^J^^ J .--^ 3 



^ 



is=i= 



m 



King William was King James's son, And all the roy - al race lie run ; Up- 



% 



*E|E 



-4PK — tf^B- 



3EE*£ 



=f= 



^ 



^ 



J5=- 



on Ms breast he wore a star, And it was called the sign of war. 



l=i 



^ 



w 



^^^^f 



^l 



King William was King James's son,* 
And all the royal race he run ; 
Upon his head he wore a star. 
Star of the East, 
Star of the West, 
Star of the one you love the best. 
If she's not here don't take her part, 
But choose another with all your heart. 

* Or, " King George's son." For convenience' sake, the last couplet of the first version 
is printed with the melody. 



74 Games a7id Songs of Americmi Children. 

Down on the carpet you must kneel, 
As the grass grows on the field, 
Salute your bride, and kiss her sweet, 
And rise again upon your feet. 

The round is also familiar in Ireland. We learn from an informant 
that in her town it was formerly played in a peculiar manner. Over 
the head of a girl, who stood in the centre of a ring, was held a shawl, 
sustained by four others grasping the corners. The game then proceeded 
as follows : j^-^^ William was King George's son— 

From the Bay of Biscay, ! 
Upon his breast he wore a star — 

Find your way to English schools. 

Then followed the game-rhyme, repeated with each stanza, " Go choose 
you East," etc. King William is then supposed to enter — 

The first girl that I loved so dear. 
Can it be she's gone from me ? 

If she's not here when the night comes on, 
Will none of you tell me where she is gone? 

He recognizes the disguised girl — 

There's heart beneath the willow-tree. 
There's no one here but my love and me. 

" He had gone to the war, and promised to marry her when he came 
back. She wrapped a shawl about her head, to see if he would recognize 
her." This M^as all the reciter could recollect ; the lines of the ballad 
were sung by an old woman, the ring answering with the game-rhyme. 

Waterford, Ireland. 

The round now^ in use in the town whence this comes, but where the 
ballad is not at present known, begins: 

King William was King George's son — 

From the Bay of Biscay, 0! 
Upon his breast he wore a star — 

Point your way across the sea. 

In the year 128Y, Folke Algotson, a high-born Swedish youth, carried 
off to ^Norway (at that time the refuge of such boldness) Ingrid, a daughter 
of the "law-man" or judge of East Gothland, who was betrothed to a 
Danish noble. Popular ballads attached themselves to the occurrence, 



Histories. 75 

which are still preserved. The substance of that version of the story with 
which we are concerned is as follows : A youth loves a maid, who returns 
his affection, but in his absence her friends have "given" her to another. 
He rides to the wedding ceremony with a troop of followers. The bride, 
seeing him approach, and wishing to test his affection, calls on her maid- 
ens to "take off her gold crown, and coif her in linen white." But the 
hero at once recognizes his love, mounts with her on horseback, and flees 
to j^orway. 

We cannot believe the resemblance to be accidental, and look upon 
our rhymes as a branch from the same ancient — but not historical — root. 



No. 18. 
Little Harry Hughes and the Huhe's Daughter. 

The writer was not a little surprised to hear fi-om a group of colored 
children, in the streets of New York city (though in a more incoherent 
form) the following ballad. He traced the song to a little girl living in 
one of the cabins near Central Park, from whom he obtained this version. 
The hut, rude as the habitation of a recent squatter on the plains, was 
perched on a rock still projecting above the excavations which had been 
made on either side, preparatory to the erection of the conventional 
" brown-stone fronts" of a New York street. Eocks flung by carelessly 
managed explosions flew over the roof, and clouds of dust were blown by 
every wind into the unswept hovel. In this unlikely spot lingered the 
relics of old English folk-song, amid all the stir of the busiest of cities. 
The mother of the family had herself been born in New York, of Irish 
parentage, but had learned from her own mother, and handed down to 
her children, such legends of the past as the ballad we cite. A pretty 
melody gave popularity to the verse, and so the thirteenth-century tra- 
dition, extinct perhaps in its native soil, had taken a new lease of ex- 
istence as a song of negro children in New York. 

Under the thin disguise of the heading will be recognized the ballad 
of " Hugh of Lincoln and the Jew's Daughter," the occasion of which is 
referred by Matthew Paris to the year 1255. Chaucer, in exquisite verse, 
has made his Prioress recount the same story : how the child, 

This gemme of chastite, this emeraude, 
And eek of martirdom the ruby bright, 



76 



Games and Songs of American Children. 



has his throat cut bj " false Jewes," and, cast into a pit, still sings his chant 
in nonor oi This welle of mercy, Christes moder sweet; 

and, when discovered, cannot be buried in peace till the magic grain is 
removed which "that blissful maiden fre" has laid under his tongue. 

The conclusion is, in our version, only implied. In that given by 
Jamieson the murdered child, speaking from the well, bids his mother 
prepare the winding-sheet, for he will meet her in the morn " at the back 
of merry Lincoln ;" and the funeral service is performed by angels. 



u > p 

It was on a May, on a mid - summer's day, When it rained, it did rain small ; And 
She came down, the youngest duke's daughter. She was dressed in green ; Come 




lit - tie Har-ry Hughes and his play - fel-lows all Went out to play 
back, come back, my pret-ty lit - tie boy. And play the ball 



the ball. 
a - gaia 



It was on a May, on a midsummer's day, 

When it rained, it did rain small ; 
And little Harry Hughes and liis playfellows all 

Went out to play the ball. 

He knocked it up, and he knocked it down, 

He knocked it o'er and o'er; 
The very first kick little Harry gave the ball, 

He broke the duke's windows all. 

She came down, the youngest duke's daughter, 

She was dressed in green ; 
"Come back, come hack, my pretty little boy, 

And play the ball again." 

" I won't come back, and I daren't come back, 

Without my playfellows all ; 
And if my mother she should come in, 

She'd make it the bloody ball."* 

* For if my mother should chance to know, 

She'd make my blood to fall. — Version of Sir Egerton Brydges. 



Histories. ']'] 

She took an apple out of her pocket, 

And rolled it along the plain ; 
Little Harry Hughes picked up the apple, 

And sorely rued the day. 

She takes him by the lily-white hand, 

And leads him from hall to hall. 
Until she came to a little dark room. 

That none could hear him call. 

She sat herself on a golden chair, 

Him on another close by ; 
And there's where she pulled out her little penknife 

That was both sharp and fine. 

Little Harry Hughes had to pray for his soul. 

For his days were at an end; 
She stuck her penknife in little Harry's heart, 

And first the blood came very thick, and then came very thin.'"*' 

She rolled him in a quire of tin. 

That was in so many a fold ; 
She rolled him from that to a little draw-well 

That was fifty fathoms deep. 

" Lie there, lie there, little Harry," she cried, 

" And God forbid you to swim. 
If you be a disgrace to me. 

Or to any of my friends." 

The day passed by, and the night came on, 

And every scholar was home. 
And every mother had her own child. 

But poor Harry's mother had none.f 

* And first came out the thick, thick blood, 
And syne came out the thin; 
And syne came out the bonny heart's blood. 
There was nae mair within. 

Jamieson. 
f When bells were rung, and mass was sung, 
And a' the bairns came hame. 
When every lady gat hame her son, 
The lady Maisry gat nane. 

Jamieson. 



78 Games and Songs of American Children. 

She walked up and down the street, 
With a little sally-rod* in her hand; 

And God directed her to the little draw-well, 
That was fifty fathoms deep. 

" If you be there, little Harry," she said, 

" And God forbid you to be. 
Speak one word to your own dear mother. 

That is looking all over for thee." 

" This I am, dear mother," he cried, 

" And lying in great pain. 
With a little penknife lying close to my heart, 

And the duke's daughter she has me slain. 

" Give my blessing to my schoolfellows all, 
And tell them to be at the church. 

And make my grave both large and deep, 
And my coffin of hazel and green birch. 

" Put my Bible at my head. 

My busker f (?) at my feet. 
My little prayer-book at my right side. 

And sound will be my sleep." 



_ ]Sro. 19. 
Barbara Allen. 



In the first quarter of the century, this celebrated ballad was still used 
in New England as a children's game or dance at evening parties. We 
have here, perhaps, the latest English survival, in cultivated society, of a 
practice which had once been universal. It is noteworthy that while, in 
the town of which we speak,:}: the establishment, at the period alluded to, 
of a children's dancing-school was bitterly opposed, and the children of 
"church members" were hardly permitted to attend, no such prohibition 
applied to amusements like this, which were shared in irrespective of 
sectarian prejudice, by boys as well as by girls. 

* Sallow; willow. f In other versions it is "Testament" or " Catechism." 

X Keene, New Hampshire. 



Histories. 79 

Our informant describes the performers as standing in conpleSj con- 
sisting each of a boy and a girl, facing each otlier. An elderly lady, who 
was in particular request at children's parties on account of her extensive 
stock of lore of the sort, sang the ballad, to which the dancers kept time 
with a slow metrical movement, balancing without any considerable 
change of place. At the final words, " Barbara Allen," which end every 
stanza, a courtesy took the place of the usual refrain. The whole per- 
formance is described as exceedingly pretty, stately, and decorous. It 
cannot be doubted that the version of the ballad sung was traditional, 
but we have not been able to secure it. 



So Games and Songs of American Children. 



III. 

PLAYING AT WORK. 

"The king (George III.) danced all night, and finished with the Hemp-dressers, 
that lasted two hours." — Memoir oj Mrs. Delany. 

'Bo. 20. 
Virginia Reel. 

This dance, which we will not here attempt to describe, is no doubt 
well known to our readers; but we doubt if any of them has reflected on 
its significance. It is, in fact, an imitation of weaving. The first move- 
ments represent the shooting of the shuttle fi'om side to side, and the 
passage of the woof over and under the threads of the warp ; the last 
movements indicate the tightening of the threads, and bringing together 
of the cloth.* 

There is a very similar Swedish dance, called " Weaving Woollen," in 
which the words sung are — 

Weave the woollen and bind it together, 
Let the shuttle go round ! 

The originally imitative character of the dance is thns well illustrated. 
The " Hemp - dressers' Dance," in which George III. figured, seems to 
have resembled this, according to the description quoted in the memoir 
referred to in the heading of this chapter. 



No. 21. 

Oats, Pease, Beans, and Barley Grows. 

This round, although very familiar to all American children, seems, 
strangely enough, to be unknown in Great Britain ; yet it is still a favorite 
in France, Provence, Spain, Italy, Sicily, Germany, and Sweden ; it was 

* An acquaintance says, that in the interior of New York State the men and girls stand 
in the row by sevens; an arrangement which she suggests may imitate the different colors 
of strands. 



Playing at Work, 



played by Froissart (born 1337), and Eabelais (born 1483) ; while the gen- 
eral resemblance of the song in European countries proves that in the five 
centuries through which we thus trace it, even the words have under- 
gone little change. Like the first game of our collection, it is properly 
a dance rather of young people than of children ; and a comparative 
examination of versions inclines us to the belief that it is of Romance 
descent. The lines of the French refrain,* and the general form of the 
dance, suggest that the song may probably have had (perhaps in remote 
classic time) a religious and symbolic meaning, and formed part of rustic 
festivities designed to promote the fertility of the fields ; an object which 
undoubtedly formed the original purpose of the May festival. So much 
for conjecture ; but, in any case, it is pleasant to think of the many gen- 
erations of children, in so many widely separated lands, who have rejoiced 
in the pretty game. 

The ring circles, singing, about a child in the centre — 




i 



r I I 3 

Oats, pease, beans, and bar-ley grows, How you, nor I, nor no - bod - y knows. 



-1 r 

Oats, pease, beans, and barley grows, 
Oats, pease, beans, and barley grows ; 
How you, nor I, nor nobody knows, 
Oats, pease, beans, and barley grows. 

The children now pause, and sing with appropriate gestures- 

Thus the farmer sows his seed, 
Stands erect and takes his ease. 
Stamps his foot, and claps his hands, 
And turns about to view his lands. 



^ 



1 r I 

Wait - ing for a part - ner, Wait - ing for a part - ner. 



W 



=?^ 



^ 



^ 



^ 



* Oats, oats, oats. 
May the good God prosper you! 
6 



82 Games and Songs of American Children. 

Waiting for a partner, 

Waiting for a partner, 

Open the ring and take her in, 

And kiss her when you get her in. 

The boy selects a girl, and the two kneel in the ring, and salute^ — 

Now you're married, you must obey, 
You must be true to all you say. 
You must be kind, you must be good, 
And make your husband chop the wood. 

What we have said of the permanency of the words applies only to the 
action, the essential part, of the game. The amatory chorus.) by which 
the song is made to serve the purpose of love-making, is very variable. 
Thus we have the quaint conclusion of the last line at greater length : 

And now you're married in Hymen's band, 
You must obey your wife's command ; 
You must obey your constant good. 
And keep your wife in hickory wood — 
Split the wood and carry it in, \_twice] 
And then she'll let you kiss her again. 

" Splitting the wood " was a very troublesome part of the New England 
farmer's menage. 

More commonplace are the choruses : 

You must be good, you must be true, 
And do as you see others do. 



Or— 



Or again — 



And live together all your life, 
And I pronounce you man and wife. 

And love each other like sister and brother, 
And now kneel down and kiss each other.* 



In place of " sister and brother," the malicious wit of little girls sub- 
stituted " cats and dogs."f 

* These choruses, which may be paralleled from Great Britain, do not in themselves 
belong to any particular game. 

f We find the same benevolent wish, under like circumstances, in a Swedish game. Is 
the correspondence accident or tradition? 



Playing at Work. 83 

In the early part of the century the essential stanza went thus in New 

Hampshire : 

Thus my father sows his seed, 
Stands erect and takes his ease, 
Stamps his foot, and claps his hands, 
"Whirls about, and thus he stands. 

The Swedish quatrain is nearly the same : 

I had a father, he sowed this way, 

And when he had done, he stood this way ; 

He stamped with his foot, he clapped with his hand, 

He turned about, he was so glad. 

The French rhyme, by its exact correspondence, proves the great antiq- 
uity of the formula.* 

The German game, as is often the case with German children's games 
and ballads in general, is more modernized than in the other tongues, and 
has become a coarse jest. It is represented how the farmer sows his oats, 
cuts it, binds it, carries it home, stores it, threshes it, takes it to market, 
sells it, spends the money in carousal, comes home drunk, and quarrels 
with his wife, because she has cooked him no supper ! Verily, a satire 
from the lips of children ! 

Fauriel, in his history of Provengal literature, alludes to this song, 
which it seems he had seen danced in Provence, and considers to be de- 
rived from, and to represent, clioral dances of Greek rustics. " The words 
of the song," he says, speaking of these ancient dances, " described an 
action, a succession of different situations, which the dancers reproduced 
by their gestures. The song was divided into many stanzas, and termi- 
nated by a refrain alike for all. The dancers acted or gesticulated only to 
imitate the action or situation described in each stanza ; at the refrain 
they took each other by the hand and danced a round, with a movement 
more or less lively. There are everywhere popular dances derived from 

* Qui veut ouir, qui veut savoir, 
Comment on sSme I'aveine ? 
Mon pere la s^mait ainsi, 
Puis il se reposait S. demi; 
Frappe du pied, puis de la main, 
Un petit tour pour ton voisin; 

Aveine, aveine, aveine, 
Que le Bon Dieu famine ! 



84 Games a7td Songs of Ainericaji Children. 

these, which more or less resemble them. ... I remember to have seen in 
Provence some of these dances, of which the theme seems to be very an- 
cient — one, among the rest, imitating successively the habitual actions of a 
poor laborer, working in his field, sowing his wheat or oats, mowing, and 
so on to the end. Each of the numerous couplets of the song was sung 
with a slow and dragging motion, as if to imitate the fatigue and the 
sullen air of the poor laborer; and the refrain was of a very lively 
movement, the dancers then giving way to all their gayety." * 

The French, Italian, and Spanish versions of this game also represent 
a series of actions, sowing, reaping, etc., of which our own rhyme has re- 
tained only one stanza. There is a whole class of similar rounds, which 
describe the labors of the farmer, vine-dresser, etc. That such a song, 
danced in sowing-time, and representing the progress and abundance of 
the crop, should be supposed to bring a blessing on the labors of the year, 
is quite in conformity with what we know of popular belief, ancient and 
modern. When a French savant asked the peasants of La Chatre why 
they performed the dance of " Threading the Needle " (see No. 29), the 
answer was, " To make the hemp grow." It is not in the least unlikely 
that the original of the present chant was sung, with a like object, by 
Italian rustics in the days of Yirgil. 



No. 22. 
Who'll Be the Binder? 
Couples circle in a ring about a single player — 
It rains, it hails, it's cold stormy weather, 
In comes the farmer drinking all the cider ; 
You be the reaping-boy and I'll be the binder ; 
I've lost my true love, and don't know where to find her. 

Each girl then lets go of her partner's arm, and takes the arm of the one in 
advance, and the solitary player endeavors meanwhile to slip into the line. 
The following is a variation : 

It snows and it blows, and it's cold frosty weather, 

Here comes the farmer drinking all his cider; 

I'll be the reaper, who'll be the binder? 

I've lost my true love, where shall I find her? 

* Fauriel supposed the present round to be derived from Massiliot Greeks; but lie was 
unacquainted with its difEusion in Europe. 



Playing at Work. 



85 



It is played by children in New York city as a kissing-game in the 
ring, as follows : 



f 



^^ 



^^ 



^3E 



^ 



:ff=:: 



^ 



In comes tlie farm - er, drink-ing all the ci - der ; I have a true love and 



^^ 



^ 



^ 



=isr: 



^: 



don't know where to find her. Go round the ring, and see if you can find her ; 



XSr 


— — 


— (• — 


— (• — 


— (• — 




— r — ' 


E^ 


=1^ 

al — 


->- h- 


N— 


— =^- 

al 


■ !■ 


^ 


*j 


— i* 
If 


you 


can 
— ff- 


1^— 

- not 


- r 

find 


— 1 — 

her. 


"^^J — 
go 


=3= 

and 


—2 ^— 

choose an 

1 


- Oth 


- er 


one. 

— d- 




^_ 


-1 
— J — 





— a — 





1 — 


— » — 


— \- 





y 


— 0I — 





^ -1 


— 
















-*■ 






P 









In comes the farmer, drinking all the cider ; 
I have a true love and don't know where to find her. 
Go round the ring, and see if you can find her ; 
If you cannot find her, go and choose another one. 

We meet our game once more in JN^orth Germany. But its prettiest 
form is among the Fins of the Baltic coast, where it is extremely pleasing 
and pastoral : 

Reap we the oat harvest. 

Who will come and bind it? 

Ah, perhaps his darling, 

Treasure of his bosom. 

Where have I last seen her? 

Yesterday at evening. 

Yesterday at morning ! 

When will she come hither, 

With her little household, 

With her gentle escort. 

People of her village? 

Who has not a partner; 

Let him pay a forfeit.' 



86 



Games and Songs of American Children. 



It is a remarkable fact that, even where this simple people have bor- 
rowed the dramatic idea of an amusement from their more civilized 
neighbors, thej have developed it with a sweetness and grace which put 
the latter to shame. 



1^0.23. 
As We Go Bound the Mulberry Bush. 



As we ero round the mulber-ry busli, themulbery-busb, tlie mulber-ry bus 



we go round the mulber-ry bush, themulbery-busb, the mulber-ry bush ; As 



^ 



^iiiS== 



g 



go round the mul-ber-ry bush, So ear 



the morn 




Fed. 



* Fed. 

As we go round the mulberry bush, 
The mulberry bush, the mulberry bush ; 
As we go round the mulberry bush, 
So early in the morning. 

This is the way we wash our clothes, 
All of a Monday morning. 

This is the way we iron our clothes, 
All of a Tuesday morning. 

This is the way we scrub our floor, 
All of a Wednesday morning. 

This is the way we mend our clothes, 
All of a Thursday morning. 

This is the way we sweep the house, 
All of a Friday morning. 

This is the way we bake our bread, 
All of a Saturday morning. 

This is the way we go to church, 
All of a Sunday morning. 



* Fed. 



Playing at Work. 

In Massachusetts the song goes — 

Here we go round the barberry bush, 
So early in the morning. 

A variation makes the last line — 

All on a frosty morning. 



'Eo. 24. 
Do^ Do, Pity my Case. 



87 



i^ 



ES^Er 



1^1 



Do, Do, 



-f ^- ---3-- 

pit - y my case, 



In some la - dy's gar - den ; My 



I 



^^ 



3^ 



:^: 



-^-y 



^ 



clothes to wasli when I 



get home. 



^- -•- :^; 
In some la - dy's gar 



den. 



w. 



^ 



"^ 



E^ 



?E 



^ 



Do, do, pity my case, 

In some lady's garden; 
My clothes to wash when I get home, 

In some lady's garden. 

Do, do, pity my case, 

In some lady's garden ; 
My clothes to iron when I get home, 

In some lady's garden. 

And so on, the performers lamenting the duty which lies upon them of 
scrubbing their floors, baking their bread, etc. Louisiana. 

This pretty dance, with its idiomatic English, which comes to us from 
the extreme South, is obviously not modern. The chorus refers, not to the 
place of the labor, but to the locality of the dance : it may have been orig- 
inally in my lacly''s garden. Our informant remembers the game as danced 
by negro children, their scanty garments flying as the ring spun about the 
trunk of some large tree ; but (though the naive appeal to pity may seem 
characteristic of Southern indolence) this is evidently no negro song. 



88 



Games and Songs of American Children, 



^0. 25. 
When I Was a Shoemaker. 



^-5 


— -.— 






— iv- 


r- ■ § — z^ 


-f— 


~g= — s — ^~ 


P — r— 


~=^-F 


(^-> 


When 


' — tx— 
I 


— ti' — 
was 


=^3 
a 


shoe - ma - ker, and a 


5lioe 

— 1 


ma - ker was 

_t^ 1 


I, 

■m- 

-5= 


A 

— =1 



^^ 



^ 



this a way, and a this a way. And a this a way went I. 



m 



=|==JLz=t 



^=3. 



Jt^ 



sg 



V y 

A KOIWD. 

, When I was a shoemaker, 
And a shoemaker was I, 

This way,* and this way. 
And this way went 1. 

When I was a gentleman, 
And a gentleman was I, 

This way, and tMs way, 
And this way went I. 

When I was a lady, 
And a lady was I, 

This way, and this way. 
And this way went I. 

So on, indefinitely. The gentleman places his hands in his waistcoat 
pockets, and promenades up and down ; the lady gathers her skirts 
haughtily together ; the fireman makes a sound in imitation of the horns 
which firemen formerly blew; the shoemaker and hair -dresser are rep- 
resented by appropriate motions, etc. N'ew YorTc streets. 

As with most street-games, further inquiry has shown us that the song 
is old in America. ISTot merely the substance (which is identical with 
our last two numbers), but also the expression, is paralleled in France 
and Italy, and even on the extreme limits of European Russia. 

* Sung "a. this a way." 



Playing at Work. 89 

The well-known French name of this game," The Bridge of Avignon,"* 
indicates a high antiquity. This bridge, which figures in French nursery- 
lore as London Bridge does in our own, was built in 1177. Bridges, in 
the Middle Age, were the most important structures in the land, places 
of festi\dty and solemnity, dances, trials, and executions. 



No. 26. 
Here We Come Gathering Nuts of May. 
Two opposite rows of girls. One side advances and sings, the other 
side replying : 

"Here we come gathering nuts of May, \thrice\ 
On a May morning early." 

"Whom will you gather for nuts of May, 
On a May morning early ?" 

" We'll gather [naming a girl] for nuts of May, 
On a May morning early." 

"Whom will you send to fetch her away, 
On a May morning early ?" 

"We'll send [naming a strong girl] to pull her away, 
On a May morning early." 

The game is continued until all players are brought to one side. 

Charlestown, W. Ya. 

This game is probably a recent importation from England, where it is 
very well known. It seems likely that the imitative dance really belongs 
to the season of nut-gathering,t and that the phrase, "ISTuts of J/a^/," and 
the refrain, have crept in from its later use as a May-game. 

* Sur le Pont d' Avignon, 
Les messieurs font 9a, 
Et puis encore 9a. 

Then come "les dames," "les cordonniers, " etc. 

In the corresponding Russian game, a single player mimics the walk of old men, 
priests, or the habits of any trade or person in the company, 
f Nous sommes h trois fillettes. 
Pour aller cueillir noisettes; 
Quand les noisettes sont cueillies, 
Nous sommes mises a danser. 



90 Games and Songs of American Children. 

m. 27. 

Eiere I Brew, and Here I Bake. 

A ring of children clasp hands bj clenching fingers ; a single child 

within the circle repeats the rhyme, making appropriate gestures over 

successive pairs of hands ; at the last words he (or she) throws himself 

(or herself) against what is thought the most penetrable point. 

Here I brew and here I bake, 
And here I make my wedding-cake, 
And here I must break through. 

The following is a different version : 

Here I bake and here I brew. 

And here I lay my wedding-shoe. 

And here I must and shall break through. 

If the first attempt is not successful, the player within the ring runs to 
attack some other point. After the ring is broken, the child on his right 
continues the game. In ISTew York, a violent form of the same sport 
goes by the name of " Bull in the Ring." 



No. 28. 

Draw a Bucket of Water. 

Four girls cross hands, and pull in rhythmical movement against each 

other while singing, one pair changing the position of their hands from 

above to below that of the other pair at the words, " Here we go under," etc. 

Draw a bucket of water 
For my lady's daughter. 
One in a rush, 
Two in a rush, 
Here we go under the mulberry bush. 

New York. 
In Massachusetts this was a ring game : 

Draw a pail of water 

For my lady's daughter. 

Give her a ring and a silver pin. 

And pay for my lady's pop under. 



Playing at Work. 91 

At the last words the girl within the ring endeavors to pass under the 
hands of one of the couples. 



No. 29. 

Threading the Needle. 

A boy and a girl, standing each on a stool, make an arch of their hands, 
under which an endless chain passes, until the hands are dropped, and one 
of the players is enclosed. 

The needle's eye 

That doth supply 
The thread that runs so true ; 

Ah ! many a lass 

Have I let pass 
Because I wanted you. 

Or— 

The needle's eye 
You can't pass by, 
The thread it runs so true; 

It has caught many a seemly lass, 
And now it has caught you. 

Massachusetts. 

In the following more complicated form of the game, in use half a cen- 
tury ago, both a boy and a girl were caught by the players who raised 

their arms : 

The needle's eye 

None can surpass 
But those who travel through ; 

It hath caught many a smiling lass, 
But now it hath caught you. 

There's none so sweet 
That is dressed so neat;* 

I do intend, 

Before I end, 
To mate this couple meet. 

* ' ' We considered this a personal compliment. I remember we used to feel very much 
pleased — children are so sensitive!" — Informant. 



92 Games and Songs of American Children. 

The pair then kissed, and the game proceeded as in " London Bridge,'' 
ending with a tug-of-war. 

The name, " Threading the Needle," is still applied, in a district of 
central France, to a dance in which many hundred persons take part, in 
w^hich from time to time the pair who form the head of the row raise 
their arms to allow the line to pass through, coiling and winding like a 
great serpent. 



Humor and Satire. 



93 



IV. 

RUMOB AND S A T I B E. 

Andante. 
Perrette est bien malade, 
En danger de mourir. 

Presto. 
Son ami la va voire ; 
Te laira' tu mourir? 

Andante. 
Non, non, repondit-elle, 
Je ne veux pas mourir. 

Canadian Song. 



1^0. 30. 
Soldier, Soldier, Will You Marry Me f 



Alia Marcia. 



^3=^:^:E fej^=^ Bg 



^E 



-i=j-- 






r 



z&=tz 



s^i^s- 



1 I I II ' ^_l I 

Sol-dier, sol - dier, will you marry me. With, a knapsack, lif e,and drum ? 



lis 



-T^q- 



:^^^- 






«/ 



r^- 



3*-=5T-^=^: 



$ 



piu lento. 



:*=S: 



i^^^^^^^SE 



=i=i- 



piu presto. 



i^l 



_^_^ 



^ 



fsfc^: 



I 



no, my prat-ty maiden, I can-not marry you, For I have no coat to put on. 

.iBzt: 



^ 



^^ 



=i 



=S 



:e5= 



EEEEli 



=^ 



-s— 



zp 



-r- 



i^M'sf fozce. — " Soldier, soldier, will you marry me, 
With a knapsack, fife, and drum ?" 
" Oh no, my pretty maiden, I cannot marry you, 
For I have no coat to put on." 



94 



Games and Songs of American Children. 




Vivace. 



Then a - way she ran to the tai - lor's shop, As fast as legs could run ; And 



Z ^ uJ 



^ 



?^^ 



^ 



-X^ — Ci^ 



f 



^^fg-^#^ 



% % %- 



=S: 



bought him one of the ver - y best, And the sol - dier put it on. 



w. 



m 



^^=^^ 



"^ 



-z^ 



^--j' 



Second voice. — Then away she ran to the tailor's shop, 
As fast as legs could run ; 
And bought him one of the very best, 
And the soldier put it on. 

The question is then repeated, the soldier pleading his want of shoes 
gloves, etc., which the confiding fair procures, until at last — 

" Soldier, soldier, will you marry me, 
With your knapsack, fife, and drum ?" 

" Oh no, my pretty maiden, I cannot marry you, 
For I have — a good wife — at home !" 

This piece and the following are more or less familiar as children's 
songs through the United States. Our version was sung by children of 
from five to eight years of age, and made a favorite amusement at the 
afternoon gatherings. When one couple had finished, another pair would 
begin, and so on for hours at a time. The object w^as to provide for the 
soldier the most varied wardrobe possible; while the maiden put the 
question. with spirit, laying her hand on her heart, respecting which the 
prevailing opinion was that it was under the left arm. 



No. 31. 

Quaker Courtship. 

In this piece, two children (in costume or otherwise) impersonate a 
Quaker paying his addresses to a young lady of the world. 



Humor and Satire. 



95 



P^ 



Slowly— With nasal tones. 



^^ 



^^ 



-i^-J^ 



=*=f= 



Mad-am, I am come a-courting, Hum, hum, heigh-o hum ! 'Tis for pleasure, 



^i^ 



m 



4 



j^ r 



m 



jrr u~Ti 



Faster with xAquancy. 



i^^^^^^s 



not for 8port-iiig,Hum,hum,heigli-o hum ! Sir, it suits me to re-tire, Teedle link turn 



^ 



f=F=^ 



^i^^ 



^^^^^^ 



D.G. 






teedle turn a tee ; You may sit and court the fire, Teedle link turn, teedle turn a tee. 



gfc 



1^ 



=«= 



!«=«=«: 



m 



n 



=«= 



s 



e=t 



=JISE= 



£ 



" Madam, I am come a-courting — 

Hum^ hum^ heigho hum ! 
'Tis for pleasure, not for sporting — 

Hum, hum, heigho hum /" 

" Sir, it suits me to retire, 

Teedle link turn., teedle turn a tee; 
You may sit and court the fire, 

Teedle link turn, teedle tum a #ee." 

"Madam, here's a ring worth forty shilling, 
Thou may'st have it if thou art willing." 

" What care I for rings or money ? 

I'll have a man who will call me honey." 

" Madam, thou art tall and slender ; 
Madam, I know thy heart is tender." 

" Sir, I see you are a flatterer, 
And I never loved a Quaker." 

" Must I give up my religion ? 
Must I be a Presbyterian?" 

*' Cheer up, cheer up, loving brother. 

If you can't catch one fish, catch another." 



Hartfordf Conn. 



96 



Games and Songs of American Children, 



No. 32. 

Lazy Mary. 

A mother and daughter in the centre of a ring, the daughter kneeling 
with closed eyes. Mother advances — 



La - zy Ma ry , will you get up, will you get up, will you get up ? 




La - zy Ma - ry, will you get up, Will you get up 



to 



^^ 



^ 



-^ 



^ 



" Lazy Mary, will you get up, 
Will you get up, will you get up. 
Will you get up to-day ?" 

" What will you give me for my breakfast, 
If I get up, if I get up. 
If I get up to-day?" 

The reply is, " A slice of bread and a cup of tea," whereon Mary answers, 
"No, mother, I won't get up," and responds similarly to the call to dinner ; 
but for supper the mother offers "a nice young man with rosy cheeks," 
which is accepted with the words, " Yes, mother, I will get up," whereon 
the ring clap their hands. The round is familiar in New York streets. 
There is a corresponding English song, with a tragic ending. 



\AfUT an interval.'] 



[A faint attempt.] 



No. 33. 

Whistle, Daughter, Whistle. 

" Whistle, daughter, whistle, 
And I'll give you a sheep." 

" Mother, I'm asleep." 
" Whistle, daughter, whistle, 
And I'll give you a cow." 
"Mother, I don't know how.' 



Humor and Satire. 97 

" Whistle, daughter, whistle, 
And I'll give you a man." 
\A loud and clear whistle.] " Mother, now I can !" JYew Yorh 

The subject of this and the preceding number has furnished endless 
mirth to popular poetrj'. The present song is ancient ; for it is identical 
with a German, Flemish, and French round of the fifteenth or sixteenth 
century, in which a 7iun (or monk) is tempted to dance by similar offers. 
The spirit of the latter piece seems to be rather light-hearted ridicule than 
puritanic satire, and the allusion does not show that the piece is subsequent 
to the Reformation. 

No. 34. 
There were Three Jolly Welshmen. 

There were three jolly Welshmen, 

And I have heard them say, 
That they would go a-hunting 

Upon St. David's day — 

Look — a — there — now ! 

They hunted, they hunted, 

And nothing could they find, 
But a woman in the road. 

And her they left behind — 

Look — a — there — now ! 

One said it was a woman. 

The other said nay ; 
One said it was an angel 

With the wings blowed away — 
Look — a — there — now ! 

We have obtained only three verses of the song, which was a favorite 
with little children as they sat on the door-step of a summer's evening. 
Another version of the ancient jest comes to us as sung by college students : 
{Slow and mournful, in G minor.) 
And so they went along, 
To see what they could see. 
And soon they saw a frog 
A-sitting under a tree. 

{Recit.) So— they— did. 
7 



98 Games and So7igs of American Children. 

One said it was a frog, 

But the other said nay — 

One said it was a canary-bird 

With the feathers blown away. 
{Recit.) So — it — was. 

And so they went along, 

To see what they could see. 

And soon they saw a barn 
A-standing by a tree. 

One said it was a barn. 

But the other said nay, 

One said it was a meeting-house 
With the steeple blown away. 

And so they went along, 

To see what they could see, 

And soon they saw an owl, 
A-sitting on a tree. 

One said it was an owl, 

But the other said nay, 

One said it was the Evil One ! 
And they all ran away. 



No. 35. 
A Hallowe'en Hhyme. 

A BOUND. 

Oh, dear doctor, don't you cry ! 
Your true love will come by-and-by. 

If she comes all dressed in green, 
That's a sign she's to be seen. 

If she comes all dressed in white, 
That's a sign she'll cry all night. 

If she comes all dressed in gray, 
That's a sign that she's away. 



Humor and Satire. 99 



A variation 



If she comes all dressed in blue, 
That's a sign she'll marry you. 



Oh, Miss Betsy, don't you cry ! 
For your true love will come by''m-hye ; 
When he comes he'll dress in blue — 
Then he'll bring you something new. 



New YorTc. 



Massachusetts. 



These corrupt rhymes are only interesting as illustrating the perma- 
nence of Hallowe'en customs, even in America. The Scotch rhyme of 
Chambers goes — 

This knot, this knot, this knot I knit, 

To see the thing I ne'er saw yet — 

To see my love in his array, 

And what he walks in every day ; 

And what his occupation be, 

This night I in my sleep may see. 

And if my love be clad in green. 

His love for mc is well seen ; 

And if my love be clad in gray, 

His love for me is far away ; 

But if my love be clad in blue. 

His love for me is very true. 

After repeating these words, the girl puts her knotted garter beneath her 
pillow, and sleeps on it, when her future husband will appear to her in a 
dream. 



No. 36. 
The Doctor's Prescription. 

A. BOUND. 

Oh, dear doctor, can yon tell. 

What will make poor well ? 

She is sick and like to die, 

And that will make poor cry. 

A kiss was the prescription. , ,, 



lOO Games and Songs of American Childre^t. 

We insert this silly little round, chiefly because, according to Madame 
Oelnart, a French equivalent was in favor, not with infants, but ladies and 
gentlemen in polite society, only half a century since. Our authority says : 

" The master or the mistress of this round is called doctor. This 
doctor takes the arm of the person seated on his right, regards him or 
her with an eye of compassion, feels his pulse, and then gives his order, 
which everybody repeats, singing, ' Give me your arm that I may cure you, 
for you seem to me to look ill.' ^ Then, designating bj' a glance some per- 
son of the other sex, he says, ' Embrace monsieur (or madarae) to cure you ; 
it is an excellent remedy.' All the persons in the ring are submitted 
to this treatment, which the physician l^nows how to render piquant by 
the choice of the panacea which he recommends to his patient; when 
everybody is cured, the doctor passes over his science and dignity to the 
last person who has tested the efficacy of his prescription, and in his turn 
falls sick, to make trial of the pleasing remedy." 

The general theme of our vulgarized round is more agreeably ex- 
pressed in the quaint and ancient Canadian song which we have cited as 
the motto of the present chapter. 



No. 37. 
Old Gi'vmes. 

Old Grimes is dead and in his grave laid, 
In his grave, in bis grave, in his grave laid — 
aye ! 

There grew up an apple-tree over his head — 
Tiie apples were ripe and ready to fall — 
Then came an old woman a-picking them up — 
Old Grimes got up and gave her a kick — 
And made her go hobbledy, hobbledy, hip — 
The bridles and saddles they hang on the shelf — 
And if you want any more you must sing it yourself — 
aye 0! 

New York streets. 

* Donne-moi ton bras que je te guerisse. 
Car tu m'as I'air malade, 

I(©jila, 
Car tu m'as Vair. Snalade ! 



Humor and Satire. 



lOl 



A friend informs us that he has often heard the words of this unintel- 
ligible round sung as a " shanty," or song used by sailors at their work, 
with the chorus, yeo heave-ho! In Cambridge, Mass., the name of the 
deceased was " Old Cromwell." We have also a version of half a cen- 
tury since, beginning, 

JemiBy and Nancy went up to Whitehall, 
Jemmy fell sick .among them all. 



No. 38. 

The Baptist Game. 

Such is the peculiar title of this amusement in Virginia, where it is 

said to be enjoyed by pious people who will not dance. There is a row of 

couples, with an odd player at the head. At the sudden close of the song 

occurs a grand rush and change of partners. 



Come, all ye young men, in your e - vil ways, And sow your wild oats in your youthful 




^ 



P 1 • » -% •— ^ T 



ESE^ 



days ; 



•*i- ~ -wt- ' - - -m- ■ -^^ 

You shall be happy, You shall be happy. When you grow old. 




Come, all ye young men, in your evil ways, 
And sow your wild oats in your youthful days ; 
You shall be happy, 
You shall be happy. 
When you grow old. 

The night is far spent, and the day's eoraing on, 
So give us your arm, and we'll jog along, 



You shall be happy. 
You shall be happy, 
When you grow old. 



Albemarle Co., Va. 



I02 Games and Songs of American Children. 

This game, with verbal identity (save the title), was a few years since 
an amusement of well-bred girls in ]!^ew York city. It has also been 
familiar in Massachusetts, with the exception of one line — 

Come all ye old maids in your sinful ways ! 



N"o. 39. 
Trials, Troubles, and Tribulations. 
All participating are blindfolded, and, joining hands, march forward, 

singing — 

Here we go through the Jewish nation, 

Trials, troubles, and tribulation. 

The fun consists in bringing up against a door, or in causing a general 
downfall by tripping over some obstacle. New York. 



No. 40. 

Happy is the Miller. 

An odd number of players, of whom the one not paired stands in the 

centre of the ring. The others march in couples, each consisting of a girl 

and a boy, till the sudden end of the song, when each boy grasps the girl 

in front of him, 

Happy is the miller, who lives by himself, 
All the bread and cheese he piles upon the shelf, 
One hand in the hopper, and the other in the bag, 
The wheel turns around, and he cries out, Grab ! 

Western New York. 
Another version : 

Happy is the miller that lives in the mill ; 
While the mill goes round, he works with a will ; 
One hand in the hopper, and one in the bag, 
The mill goes around, and he cries out, Grab ! 

Cincinnati. 

The miller, whose pay used to be taken in a proportion of corn ground, 
was a common object of popular satire. 



Humor and Satire. 103 

In Germany the mill-wheel, as it slowly revolves, is said to exclaim- 
There is — a thief — in the mill ! 
Then, moving more quickly — 

Who is be? who is he? who is he? 
And at last answers very fast, and without pausing — 
The ruiller ! the miller ! the miller ! 

" Round and Round, the Mill Goes Round," is mentioned as an English 
dance at the end of the seventeenth century. A song of " The Happy 
Miller" is printed in "Pills to Purge Melancholy" (1707), of which the 
lirst verse is — 

How happy is the mortal that lives by his mill ! 

That depends on his own, not on Fortune's wheel ; 

By the sleight of his hand, and the strength of his back, 

How merrily his mill goes, clack, clack, clack! 

This song was doubtless founded on the popular game ; but the modern 
children's sport has preserved the idea, if not the elegance, of the old 
dance better than the printed words of a hundred and seventy years 
since. A variation of the same game is still familiar in Canada and 
Sweden,* 



E"©. 41. 

The Miller of Gosport. 

That the prejudice against the honesty of the miller was not confined 
to the Old World will appear from the following ballad : 

There was an old miller in Gosport did dwell : 

He had three sons whom he loved full well ; 

He called them to him, one — by — one, \ 

Saying, " My — life — is — al — most — done ! " f 

He called to him his eldest son, 
Saying, " My life is almost done, 

* The Canadian words are, " J'entends le moulin, tique, tique, tique." Probably the 
old English dance ended, "How merrily the mill goes, clack, clack, clack !" after which, 
as now in Canada, partners were changed, and the odd player in the centre had an op- 
portunity to secure a place, or to find a mate. 

f The pauses lengthen as the patient grows weaker. 



I04 Games and So?igs of American Children. 

And if I to you the mill shall make, 
Pray, say what toll you mean to take?" 

" Father," says he, " my name is Dick, 
And aout of each bushel I'll take one peck — 
Of every bushel — that — I — grind, 
I'll take one peck to ease my mind." 

" Thou foolish son," the old man said, 

" Thou hasn't but one half larnt thy trade ! 

The mill to you I'll never give. 

For by such toll no man can thrive." 

He called to him his second son. 
Saying, " My life is almost done, 
And if I to you the mill shall make. 
Pray, say what toll you mean to take ?" 

" Father," says he, " my name is Ralph, 
And aout of each bushel I'll take one hail — - 
Of every bushel that I grind, 
I'll take one half to ease my mind." 

" Thou foolish son," the old man said, 

" Thou hasn't but one half larnt thy trade ; 

The mill to you I'll never give, 

For by such toll no man can thrive." 

He called to him his youngest son. 
Saying, " My life is almost done ; 
And if I to you the mill shall make. 
Pray, say what toll you mean to take ?" 

" Father," says he, " I am your boy, 
And in taking of toll shall be all my joy; 
That an honest living I ne'er may lack, 
I'll take the whole, and steal the sack." 

"Thou art my son," the old man said; 
"Thou'st larnt thy good— old— fayther's trade; 
The mill to you I do — betide" — 
And — so — he — closed — his eyes — and — died, 

Another version finds its way to us from the West, and ends with an 
uncomplimentary opinion as to the habitation of the miller in the other 
world. 



Flower Oracles, etc, 105 



V. 

FLO WE B ORACLE 8, ETC, 

A spire of grass hath made me gay ; 

It saith, I shall find mercy mild. 

I measured in the selfsame way 

I have seen practised by a child. 

Come look and listen if she really does : 

She does, does not, she does, does not, she does. 

Each time I try, the end so augureth. 

That comforts me — 'tis right that we have faith. 

Walther von der Vogelweide [a.d. 1170-1230J. 

No. 42. 

Flower Oracles. 

Plucking one by one the petals of the ox-eje daisy {Leucanthemum 
vulgare),) children ask : 

Rich man, poor man, beggar-man, thief. 
Doctor, lawyer, Indian chief.* 

Girls then take a second flower, and, getting some one else to name it, 
proceed, in order to determine where they are to live: 

Big house, little house, pigsty, barn. 

And in like manner use a third to discover in what dress they are to be 

married : 

Silk, satm, calico, rags. 

Finally, they consult a fourth, to find out what the bridal equipage is 

to be : 

Coach, wagon, wheelbarrow, chaise. 

* Played also on buttons. A friend informs us that, as a child, he had his buttons 
altered, in order that the oracle might return an agreeable response. 



io6 Games and Songs of American Children. 

Another version gives for the second line of the first formula : 

Doctor, lawyer, merchant, chief. 

In Switzerland, girls in like manner say, as they pick off the flower- 
leaves of the common daisy {Bellis perennis) : 

Be single, marry, or go into the cloister? 

And boys — 

Eich, poor, moderate? 

The marguerite [Doronicum hellidiastrum) is asked in the same country : 
Heaven, hell, purgatory, paradise ? 

And in Styria is called "Love's Measure," because it determines the re- 
turn of affection according to the w^ell-known formula, " He loves me, he 
loves me not," for which a French equivalent is: 

Je t'aime, un pen, beaucoup, 
Tendrement, pas da tout. 

But in Switzerland again the questions for the marguerite exactly matcli 

ours: 

Nobleman, beggar-man, farmer, soldier, student. 
Emperor, king, gentleman. 

The verse is similar in Italy. It is curious to see the precise correspond- 
ence of English and Continental forms. 

Mediseval writers do not mention this use of flower-petals, but fre- 
quently allude to the custom of drawing spires of grass, to secure the 
longer (or shorter, as might be agreed). Thus lads might draw grasses, 
for the purpose of deciding to which of the two a maiden might belong 
as a partner. This was so usual a way of deciding a controversy that it 
was even recognized in law, where the parties to a suit drew straws from 
a thatch or sheaf. Children still resort to a like arbitrament, w^here one 
holds the straws in the hand, and the other draws, the shorter straw win- 
ning. To our surprise, we find that girls in Massachusetts still keep up 
the mediaeval usage ; they draw stalks of grass in the field, and match 
them, to decide who shall begin a game — be "it."* 

* In Cambridge, Mass. 



Flower Oi^acles, etc. 107 

We have seen tliat the formula " Loves me, loves me not," was used in 
the Middle Age with grasses. In Italy the oracle is consulted by means 
of the branch of a tree. A twig is taken having alternate leaves, and they 
are detached one by one, the consulter always turning the head as the words 
of the oracle are spoken. The formulas for this purpose closely resemble 
our own : thus, " This year, another year, soon, never," which is exactly 
identical with the English " This year, next year, some time, never ;" or, 
" He loves me, longs for me, desires me, wishes me well, wishes me ill, 
does not care ;" or, as in the Swiss form given, " Paradise, Purgatory, 
Caldron'''' (that is. Inferno). 



No. 43. 
TJse of Flowers in Games. 

Flowers are gathered and loved by children as they have always been, 
and are used by them in all sorts of imaginative exercises of their own in- 
vention, as, for instance, by girls in their imitative housekeeping ; but 
there is singularly little employment of them in any definite games. For- 
merly it was otherwise; but the deep sympathy which blooming youth 
once felt and expressed for the bloom of the year seems to have almost 
disappeared. 

In the Middle Age, as in classic antiquity, flowers were much in use for 
dances. Great attention was paid to the significance of particular blooms. 
" What flowers will you give me for a garland ? What flowers are proper 
for adornment?" are mentioned as names of sports. It was a practice for 
the lover to approach his mistress with a flower or fruit which he offered 
for her acceptance. If the girl accepted the gift, the youth led her out, 
and the dance began. Another ancient practice was to throw to a girl 
some bloom, at the same time pronouncing a couplet which rhymed with 
the name of the flower. The ball, too, with which youths and maids 
plaj^ed, was sometimes made of flowers. 

Almost the only relic of ancient usage of this sort, with us, is the em- 
ployment little girls make of dandelions, with which (in some parts of the 
country) they make long garlands, cutting off the heads and stringing 
them together. 

This use of the dandelion is very old, from which it derives one of its 
many German names, the chain-fiower or ring-flower. On account of its 
early bloom and golden hue it is especially the flower of spring, and seems 



io8 Games and Songs of American Children. 

to have had a reh'gious and symbolic meaning. In Switzerland these gar- 
lands are used in the dance, the children holding a long wreath of the 
flowers so as to form a circle within the ring ; and whoever breaks the 
chain pays forfeit. The plant is said to be of healing virtue, gives hap- 
piness to the lover, and, if plucked on particular days, will heal troubles 
of the eye. It has these qualities on account of its brightness, which 
causes it to be associated with the victorious power of light. 

There are other ways of using this flower. K dandelion in seed is 
held to the lips ; if the seeds can all be blown off in three attempts, it is a 
sign of successful love, of marriage within the year ; or, with little girls, 
that " my mother wants me." 

Little girls also split the stalks of the flower, and, dipping them in cold 
water, produce " curls," with which they adorn themselves. This usage, 
too, is Gern^an. 

We may speak of the trifling lore of one or two other flowers. 
A buttercup is held against one child's chin by another, and a bright 
reflection is supposed (prosaically enough) to indicate a fondness for 
butter ! 

It was formerly said in New England that the heart' s-ease ( Yiola tri- 
color) represented a " step-mother sitting on two chairs." The petals be- 
ing turned up, the step-mother is seen to have two chairs, her children one 
each, and her step-children only one between them. 

That this flower represents an unkind step-mother is stated in a Low- 
German rhyme of the fifteenth century ; and step-mother is also an Eng- 
lish name for the heart's-ease. There is another reason for the title besides 
that we have given. In Switzerland the flower is considered a type of 
malice, because the older the flower is the more yellow and "jealous" it 
becomes. Thus we have another striking example of the original similar- 
ity of English and German usage. 

Boys in the spring are fond of blowing on the fresh blades of grass, 
with which they can make a loud but harsh trumpeting. This practice, 
in Germany, is mentioned at the beginning of the thirteenth century. 

It is the custom still for boys to make whistles in the spring from the 
loosened bark of the willow ; but they do not guess that this was originally 
a superstitious rite, the pipe cut from a tree which grows in the water 
being supposed to have the power of causing rain. The Swiss children, 
though unconsciously, still invoke the water-spirit as they separate the 
bark from the wood : 



Flower Oracles, etc. 109 

Franz, Franz, 

Lend me your pipe. 



No. M. 
Counting Apple-seeds. 

The following rhyme, used in New England at the beginning of the 
present century, remains unchanged in a single word, except the omission 
of the last three lines. 

Apples formerly were an essential part of every entertainment in the 
country ; in the winter season, a dish of such always stood on the side- 
board. As the hours went by, a foaming dish of eggnog would be 
brought in, always with a red-hot poker inserted, for the purpose of 
keeping up the proper temperature. It was then that the apple, having 
been properly named, with a fillip of the finger was divided, to decide the 
fate of the person concerned according to its number of seeds. 

One, I love. 

Two, I love, 

Three, I love, I say. 

Four, I love with all my heart, 

And five, I cast away ; 

Six, he loves. 

Seven, she loves. 

Eight, they both love ; 

Nine, he comes. 

Ten, he tarries, 

Eleven, he courts. 

Twelve, lie marries ; 

Thirteen wishes. 

Fourteen kisses, 

All the rest little witches. 



1 10 Games and Songs of American Children. 

Ko. 45. 
Rose in the Garden. 

We insert here, on account of the aUnsions to nature which thej con- 
tain, several pieces which might also have found a place elsewhere in our 
collection ; the present, for instance, being eminently a " love-game." 

A single player stands in the centre of the ring, which circles and 

sings : 

There's a rose in the garden for you, fair man, 
There's a rose in the garden for you, fair maid ; 
There's a rose in the garden, pluck it if you can, 
Be sure you don't choose a false-hearted one. 

The youth or girl in the centre chooses a partner, and the ring sings : 

It's a bargain, it's a bargain, for you, fair man. 
It's a bargain, it's a bargain, for you, fair maid. 

Now follows a fragment of romance, which in our version is unhappily 

corrupt : 

You promised to marry me six months ago, 

I hold you to your bargain, you old rogue you^ 

After a kiss, the first player takes his or her place in the ring, and the 
partner selected is left to continue the game. 

Deerjield, Mass. (about 1810). 

To the same game, perhaps, belongs the following fragment: 

Here stands a red rose in the ring — 
Promised to marry a long time ago. 

The comparison of a youth or maid to a rose is not uncommon in 
dances. We have a pretty French example in the Canadian round cited 
below;* and another English instance in our ITo. 62. 

* Dans ma main droite je tiens rosier, 
Qui fleurira, qui fleurira, 
Qui fleurira au mois de Mai. 
Entrez en danse, joli rosier, 
Et embrassez qui vous plaira. — Canadian Round. 



Flower Oracles^ etc. 



1 1 1 



No. 46. 
There was a Tree Stood in the Ground. 



i-f-^ !^ 


!».- 


— ^s 1 — ->. 


h ^ ^— -j— 







There 


was 


a tree stood 
p=^ 


~B ^-—^ S- 

in the ground, The 

^-- P g- 


pret - 


ti - est tree you 

-•- 
^_ 1^. 


b^^_t=J 


M^ 


! 1« 

\ ' 


^ P 


^ 


\ b 



^^_E^^^E^= 



Bi^=d^=i 



--^ 



BEES; 



^3^^ 



3Es: 



^ 



ev • er did see ; The 



tree in the wood, and the wood in the ground ; And the 



w 



^^m. 



3= 



f 



F=F^ 



5E3£ 



-JL^—A 



-m- -x- ^ •^- 

I raUentando~ 
green grass growing all round, round, round, And the green grass growing all round. 



^ 



* 



mm 



There was a tree stood in the ground, 

The prettiest tree you ever did see ; 

The tree in the wood, and the wood in the ground; 

And the green grass growing all round, round, round, 

And the green grass growing all I'ound. 

And on this tree there was a limb, 

The prettiest limb you ever did see ; 

The limb on the tree, and the tree in the wood, 

The tree in the wood, and the wood in the ground, 

And the green grass growing all round, round, round, 

And the green grass growing all round. 

And on this limb there was a bough, 
The prettiest bough you ever did see; 
The bough on the limb, and the limb on the tree, etc. 

And on this bough there was a twig. 

The prettiest twig you ever did see ; 

The twig on the bough, and the bough on the limb, etc. 



112 Games and Songs of American Children. 

And on this twig there was a nest, 

The prettiest nest you ever did see ; 

The nest on the twig, and the twig on the bough, etc. 

And in this nest there were some eggs,* 

The prettiest eggs you ever did see; 

The eggs in the nest, and the nest on the twig, etc. 

And in the eggs there was a bird, 

The prettiest bird you ever did see ; 

The bird in the eggs, and the eggs in the nest, etc. 

And on the bird there was a wing. 

The prettiest wing you ever did see ; 

Tlie wing on the bird, and the bird in the eggs, etc. 

And on the, wing there was a feather. 

The prettiest feather you ever did see ; 

The feather on the wing, and the wing on the bird, etc. 

And on the feather there was some down. 
The prettiest down you ever did see; 
The down on the feather, and the feather on the wing, 
The feather on the wing, and the wing on the bird, 
The wing on the bird, and the bird in the eggs. 
The bird in the eggs, and the eggs in the nest. 
The eggs in the nest, and the nest on the twig. 
The nest on the twig, and the twig on the bough, 
The twig on the bough, and the bough on the limb. 
The bough on the limb, and the limb on the tree, 
The limb on the tree, and the tree in the wood. 
The tree in the wood, and the wood in the ground, 
And the green grass growing all round, round, TOund, 
And the green grass growing all round. 

Savannah, (reorgia. 

This song is not known in the North, and it is equally nnrecorded in 
English nursery-lore, but is very familiar in France (as well as Germany, 
Denmark, etc.). We are inclined to look on it as an adaptation from 

* So recited. 



Flower Oracles, etc. 113 

the French, made bj the children of emigres, like the curious game 
which makes our next number.* 



No. 47. 
Green! 



In parts of Georgia and South Carolina, as soon as a group of girls are 
fairly out of the house for a morning's play, one suddenly points the finger 
at a companion with the exclamation, " Green !" The child so accosted 
must then produce some fragment of verdure, the leaf of a tree, a blade 
of grass, etc., from the apparel, or else pay forfeit to the first after the 
manner of " philopoena." It is rarely, therefore, that a child will go 
abroad w^ithout a bit of "green," the practice almost amounting to a 
superstition. The object of each is to make the rest believe that the 
required piece of verdure has been forgotten, and yet to keep it at hand. 
Sometimes it is drawn from the shoe, or carried in the brooch, or in the 
garter. ISTurses find in the pockets, or in the lining of garments, all man- 



* A French version : 



Au dedans Paris, 

Vous ne savez ce qu'il y a? 

II y a-t-un bois, 
C'est le plus beau bois 
Parmi tous les bois; 
Le bois est dans Paris. 

Ah! le joli bois, 
Madame ; 

Ah! le joli bois! 
***** 
II y a-t-une plume, 
C'est la plus belle plume 
De toutes les plumes; 
La plume est sur I'oiseau, 
L'oiseau est dans I'oeuf, 
L'oeuf est dans le nid, 
Le nid est sur la feuille, 
La feuille est sur la branche, 
L'arbre est dans le bois. 

Ah! le joli bois, 
Madame ; 

Ah! le joli bois! 



114 Games and Songs of American Children. 

ner of fragments wliicli have served this purpose. This curious practice 
is not known elsewhere in America ; but it is mentioned by Rabelais, un- 
der the name by which it is still played in parts of Central France, " Je 
vous prends sans vert" — " I catch you without green." The game, how- 
ever, is not merely a children's sport, and is played differently from our 
description. At Chatiilon-sur-Inde it is during Lent, and only after the 
singing of the Angelus, that " green " is played. If any lady accost you 
and shows you her bough, you must immediately exhibit yours. If you 
have not such a one, or if your green is of a shade less rich than your ad- 
versary's, you lose a point ; in case of doubt, the matter is referred to 
an umpire. The game was much in vogue from the thirteenth to the 
fourteenth century, and is described as a May-game. "During the first 
days of May, every one took care to carry on his person a little green 
bough, and those who were not so provided were liable to hear themselves 
addressed, / eatch you without green, and to receive, at the same instant, a 
pail of water on the head. This amusement, however, was in use only 
among the members of certain societies, who took the name of Sans-vert. 
Those w^ho belonged to these had a right to visit each other at any hour 
of the day, and administer the bath whenever they found each other unpro- 
vided. In addition, the members so surprised were condemned to a pecuni- 
ary fine, and the income of these fines was devoted to merry repasts which, 
at certain seasons of the year, united all the comrades of the ^ans-vert^ * 

The practice has given to the French language a proverb : to take any 
one without green, to take him unawares. 

Our child's game was doubtless imported by Huguenot immigrants, 
who established themselves in the states referred to two centuries since, 
where they long preserved their language and customs, and from whom 
many well-known families are descended. 

* The custom has been supposed to be derived from the ancient Roman usage of gather- 
ing green on the calends of May, with which to decorate the house. 



Bird and Beast. 115 



VI. 

BIRD AND BEAST. 

" My brother, the hare, . . . my sisters, the doves." ... 

St. Francis of Assisi. 

No. 48. 

My Household. 

The names of animals being distributed among children, one in the 
centre of the ring, sings the words; at the proper point the child who 
represents the animal must imitate its cry ; and as at each verse the ani- 
mals who have already figured join in, the game becomes rather noisj-. 

I had a little rooster, and my rooster pleased me, 

I fed my rooster beneath that tree ; 

My rooster went — Cookery-cooery ! 

Other folks feed their rooster, I feed my rooster too. 

I had a little lamb, and my lamb pleased me, 

I fed my lamb beneath that tree ; 

My lamb went — Ma — a — a! 

Other folks feed their lamb, I feed my lamb too. 

And so on with the names of other beasts. Georgia. 

In another version, it is under the "green bay-tree" {Magnolia glauca) 
that the animals are stabled. 

This is another of the games which have been widely distributed 
through Europe, and date back to a remote past. At present, with us it is 
a child's jest, the noisy imitation of animal cries ; but, as in all such cases, 
sense preceded sound. Comparing German versions, we see that our game 
is properly a song, the idea of which consists in the enumeration by sig- 
nificant and comical names of the members and possessions of a family. 
" When I was a poor woman, I went over the Ehine : my goose was called 



ii6 



Games and Songs of American Children. 



Wag-tail, my maid So he said, mj pig Lard-pot, my flea Hojp-i^-draw^'' etc. 
A more courtly version gives us a pleasing pilgrim's song: "Whence 
come you ? — From sunset. Whither will you ? — To sunrise. To what 
country ? — Home. Where is it ? — A hundred miles away. What is your 
name % — The world names me Leap a-field, my sword is LLonor worth, my 
wife Pastime, her maid Lie-Orbed, my child Rush-about^'' etc. 

Thus we see the ancient earnestness appearing behind the modern 
mirth. It is likely that the origin of the song would take us back to 
those lists of mythical titles which were regarded as conveying real 
knowledge of the relations of things, at a time when a large part of learn- 
ing consisted in the knowledge of the significant names which were given 
to objects. 



^0.49. 

Frog -pond. 

A party of children, who represent frogs by a hopping motion. At 
the word " kough," they imitate the croaking of the frog. 



Come, neighbors, the moon is up, It's pleas-ant out here on the bank. Com r, 



i=fci 



^^m 



h 



E^ 






'-f^=^z 



stick your heads out of the tank, And let us, be - fore we sup Go 



P 



EE=3^iiS 



=^~ 



kough, kough, kough ; And let us, be - fore we sup Go kough, kough. 



kough. 

A, 



^ 



EE^^ 



^- 



Come, neighbors, the moon is up, 
It's pleasant out here on the bank. 
Come, stick your heads out of the tank, 



Bird and Beast. iiy 

And let ns, before we sup, 

Go koiigh, kough, kough. 
And let us, before we sup, 

Go kough, kough, kough. 

Enter child in character of duck — 

Hush, yonder is the waddling duck. 
He's coming, I don't mean to stay. 
We'd better by half hop our way. 
If we don't he will gobble us up. 

With a kough, kough, kough. 
If we don't he will gobble us up, 

With a kough, kough, kough. 

Every frog hops to his separate den, while pursued by the duck, the game 
after the duck's advent being extremely animated. Georgia. 



No. 50. 
Bloody Tom. 

Within the ring is the shepherd ; the wolf approaches from without. 
A dialogue ensues : 

" Who comes here ?" 

" Bloody Tom." 

" What do you want ?" 

"My sheep." 

" Take the worst, and leave the best. 

And never come back to trouble the rest." 

Salem, Mass. 

A New Hampshire version makes the game represent a fox, who carries 
off chickens, thus : 

"Who comes here this dark night?" 

" Who but bloody Tom ! — Which you druther be, picked or scalded ?" 

The Esthonian Fins have a characteristic children's game, based on the 
same idea, which may be quoted, to show how much imagination and 



ii8 Games and Songs of American Children. 

spirit enter into the sports of a simple people. A watchman on duty at 
the sheepfold annonnces his office in a soliloquy : 

Thus I guard my mother's lambkins, 
Gruard the flocks of my good mother, 
Here before God's holy temple, 
Here behind Maria's cloister, 
Near the halls of our Creator. 
At the house the mother, knitting. 
Shapes the stockings of blue woollen, 
Woollen stockings seamed with scarlet, 
Jackets of the snow-white worsted. 
I build hedges, stakes I sharpen, 
Mould the brazen gratings strongly. 
That the thieves come in and steal not, 
Take not from the flock its sheep-dog, 
Nor the wolf steal in and plunder. 
Seize my mother's tender lambkins, 
Rob the young lambs of my father. 

A girl entices away tlie shepherd, while a boy as wolf carries off part of 
the herd, and another as dog barks. The mother of the family hastens 
up, beats the traitor, and the herdsmen go with staves to seek the lost 
lamb. The garland it wore is found and identified. With shouts of, 
" Lamb, lamb," it is found at last, caressed, and its bruises examined. 



1^0. 51. 

Blue-hirds and Yellow-hirds. 

A ring of girls with their hands clasped and lifted. A girl, called 
(according to the color of her dress) blue-bird, black-bird, yellow-bird, etc., 
enters, and passes into the ring under an arch formed by a pair of lifted 
hands, singing to any suitable tune : 

Here comes a blue-bird through the window, 

Here comes a blue-bird through the window. 

Here comes a blue-bird through the window. 
High diddle dum day! 



Bird and Beast. 119 

She seizes a child, and waltzes off with her, singing : 

Take a little dance and a hop-i'-the-corner,* 
Take a little dance and a hop-i'-the-corner, 
Take a little dance and a hop-i'-the-corner, 
High diddle dum day ! 

After the dance the chosen partner leads, named, as before, according to 
the color of her costume. The child, as she enters, must imitate by her 
raised arms the flight of a bird, making a very pretty dance. 

Ci/ricinrhati. 



No. 52. 

Duchs Fl y. 

A girl, speaking the words " Ducks fly," raises her hand to imitate the 
flight of the bird ; so on with robins, eagles, etc., while all the rest must 
imitate her example ; but she finally says " Cats fly," or some similar ex- 
pression, when any child who is incautious enough to raise the hand (or 
thumb) must pay forfeit. New York. 

Trifling as the catch is, it has been popular in Europe. In some 
countries, instead of birds who fly, the question is of beasts who have or 
do not have horns. 

* Pronounced Jiop-sie-coi'ner. 



I20 Games and Songs of American Children. 



VII. 

HUMAN LIFE. 

Lilies are white, rosemary's green ; 
When you are king, I will be queen. 

Roses are red, lavender's blue ; 

If you will have me, I will have you. 

Gammer Gurtori's Garland. 

No. 53. 
King and Queen. 

This game is now a mere jest. A row of chairs is so arranged as to 
leave a vacant space, which is concealed by shawls or other coverings, and 
represents a throne. The courtiers having taken their places, the newly 
elected monarch is ceremoniously seated by the side of his consort, and 
the fun consists in witnessing his downfall. 

By Strutt's description, it appears that in the beginning of the century 
this was in use as a species of " hazing " in English girls' schools : 

" In some great boarding-schools for the fair sex it is customary, upon 
the introduction of a novice, for the scholars to receive her witli much 
pretended solemnity, and decorate a throne in which she is to be installed, 
in order to hear a set speech, addressed to her by one of the young ladies in 
the name of the rest. The throne, is wide enough for three persons to sit 
conveniently, and is made with two stools, having a tub nearly filled with 
water between them, and the whole is covered with a counterpane or 
blanket, ornamented with ribands and other trifling fineries, and drawn 
very tightly over the two stools, upon each of which a lady is seated to 
keep the blanket from giving way when the new scholar takes her place ; 
and these are called her maids of honor. The speech consists of high- 
flown compliments calculated to flatter the vauitj' of the stranger; and as 
soon as it is concluded, the maids of honor rising suddenly together, the 



Human Life. 121 

counterpane of course gives waj, and poor raiss is unexpectedly immerged 
in the water." 

In Austria the same game is called " conferring knighthood." All 
present are dressed as knights, in paper helmets, great mustachios, sticks 
for lances, wooden swords, etc. Two, who represent the oldest knights, 
are seated on the two stools, between which is a vacant space, while the 
rest form a half-circle about the Grand Master.^ who wears a mask and 
wig, and holds a great roll of paper. Meanwhile the candidate, in a sepa- 
rate room, is prepared by two knights for the ceremony ; these instruct 
him in his behavior, until the embassy arrives to lead him before the 
Grand Master. The latter delivers a solemn address, and from the docu- 
ment in his hands reads the rule of the order — silence, courage, truth, 
etc. Then follows the vow, the delivery of the knightly costume, and 
the solemn bestowal of the stroke which dubs the victim a knight. He 
is finally invited to take his seat in the circle, with the result described in 
our own jest. 

The name, "King and Queen," recalls a game as old as history, that 
of electing a king, who proceeded to confer offices of state, and assign 
duties. Herodotus tells us how the child Cyrus showed his royal birth by 
the severity with which he punished his disobedient subjects. In Switzer- 
land, the children still choose, by " counting out," a king and an execu- 
tioner. The king proceeds to impose tasks. Geiler of Kaisersberg, in a 
sermon, a.d. 1507, gives the formula then in use in the game : " Sir king, 
I wish to serve you." " And what is your sei'vice ?" " What you com- 
mand me, I would execute." " I bid you do an honor to the king." For 
this game, as still played in Switzerland, a queen is also chosen ; after a 
time, the king exclaims, " I make a journey," when the whole company, 
in couples, follow him through the chambers of the house or streets of the 
town on his royal progress. The old English game of " Questions and 
Commands" seems to have been the same. A writer in the Genilemenh 
Magazine, February, 1738, gives its formula : " King I am," says one boy : 
another answers, "I am your man." Then his majesty demands what 
service will he do him ; to which the obsequious courtier replies, " The 
best, and worst, and all I can." 



12 2" Games and Songs of American Children. 

No. 64. 
Follow Your Leader. 

In this game, the leader having been chosen by " speaking first," or 
" counting out," the rest must do whatever he does. It is usually played 
out-of-doors, and the children " follow their leader" in a row, across roads, 
fences, and ditches, jumping from heights, and creeping under barriers.* 
We are told that the game is played in a peculiarly reckless fashion in the 
South, where the leader will sometimes go under a horse's legs or between 
the wheels of a wagon, whereupon the driver, knowing what to expect, 
will stop for the rest. 

No doubt this sport, now a mere exhibition of daring, has an ancient 
origin and history. Perhaps it was a development of the hing game., 
already referred to. 

The technical word for challenge among children in America is 
"stump." One boy "stumps" another to do a thing. Whence derived? 



No. 55. 
Truth. 



The game of " Truth," as played in Massachusetts, is described by Miss 
Alcott in her "Little Women," chapter xii. The players are there said to 
pile up their hands, choose a number, and draw out in turn, and the per- 
son who draws his or her hand from the pile at the number selected has 
to answer truly any questions put by the rest. 

We have heard of a party of young people who met regularly to play 
this game, but have been assured that it proved prolific of quarrels. 



No. 56. 

Initiation. 

We have seen that the imitation of the ceremony of knighthood is still 
a form of childish amusement in Europe. Here follows a jesting New 
England formula for such a purpose, though not a game of children, but 
belonging to an older age : 

* A friend recollects how lie "followed his leader" over the roofs of houses in Boston. 



Human Life. 1 2 3 

" You must promise to obey three rules : first, never to do to-day what 
you can put off till to-morrow ; secondly, never to eat brown bread when 
you can get white; thirdly, never to kiss the maid when you can kiss the 
mistress, unless the maid is prettier than the mistress." 

These vows having been taken, it is then said, " JSTow I dub you 
knight of the whistle." Meantime a whistle having been attached to the 
back of the candidate, the fun consists in his attempts to discover the 
person who blew it. 

]S'o. 57. 
Judge and Jury. 

A child is chosen to be judge, two others for jurors (or, to speak with 
our little informant, /i^rm), who sit at his right and left hand. 

Each child must ask the permission of the judge before taking any 
step. A platter is brought in, and a child, rising, asks the judge, " May I 
go into the middle of tte room?" "May I turn the platter?" "On 
which side shall it fall ?" 

If the platter falls on the wrong side, forfeit must be paid. 

Cambridge., Mass. 

The nursery, we see, does not understand republicanism. The fairy 
tale has never got beyond the period in which the monarch orders the 
wicked witch to immediate execution. 

In the ancient world, however, where the courts were a place of resort, 
and law was not a specialized profession, the case was different. Maximus 
of Tyre tells us that the children had their laws and tribunals ; condem- 
nation extended to the forfeiture of toys. Cato the Younger, according 
to Plutarch, had his detestation of tyranny first awakened by the punish- 
ment inflicted on a playmate by such a tribunal. One of the younger 
boys had been sentenced to imprisonment ; the doom was duly carried into 
effect, but Cato, moved by his cries, rescued him. 

In a German game there is a king, a judge, an executioner, an accuser, 
and a thief. The parts are assigned by drawing lots, but the accuser does 
not know the name of the thief, and, if he makes an error, has to undergo 
the penalty in his stead. The judge finally addresses the king, inquiring 
if his majesty approves of his decision ; and the king replies, " Yes, your 
sentence entitles you to ray favor ;" or, " Ko, your sentence entitles you 



124 Games and Songs of American Children. 

to so many blows." Thus we see how modern child's play respects the 
dignity of the king as the fountain of law. 

In a Swiss sport the thief flies, and is chased over stock and stone un- 
til caught, when he is made to kneel down, his cap pushed over his brows, 
and his head immediately struck off with the edge of a board. So is pre- 
served the memory of the severity of ancient criminal law. 



No. 58. 
Three Jolly Sailors. 

Here comes a set of jolly sailor-boys, 

Who lately came on shore ; 
They spend their time in drinking of the wine, 

As they have done before. 
As we go round, and around and around, 

As we go round once more. 

I^evj York streets. 

At the second verse, the little girls by whom this round is danced turn 
so as to follow each other in an endless chain, each grasping the skirts of 
the child in front, while they move faster and faster to the lively tune. 

Some of our readers may think this song not a very creditable spec- 
imen of modern invention ; but it is no doubt a relic of antiquity. A 
similar round, given in " Deuteroraelia," 1609 (as cited by Chappell), 
begins : 

We be three poor mariners, newly come from the seas ; 
We spend our lives in jeopardy, while others live at ease. 

The children of the poorer class, therefore, who still keep up in the 
streets of our cities the present ring -dance, are only maintaining the 
customs which belonged to courtiers and noble ladies in the time of 
Shakespeare. 



Human Life. 125 

No. 59. 

Marching to Quebec. 

This piece of doggerel may be of revolutionary origin, as it can be 
traced to near the beginning of the present century. It is unusual for 
political or military events to be alluded to in children's games. 

As we were marching to Quebec, 

The drums were loudly beating; 
The Americans have won the day, 

The British are retreating. 

March ! march ! march ! march ! 

So the game was played in Philadelphia in the childhood of a lady 
born at the end of the last century. In Massachusetts and Maine it con- 
tinued to be popular until within a few years, as follows: 

We were marching to Quebec, 

The drums were loudly beating ; 
America has gained the day. 

The British are retreating. 

The war is o'er, and they are turned back, 

For evermore departed ; 
So open the ring, and take one in. 

For they are broken-hearted. 

Oh, you're the one that I love best, 

I praise you high and dearly ; 
My heart you'll get, my hand I'll give, 

The kiss is most sincerely. 

Worcester^ Mass. 

That the population of Dutch extraction in New York had no deep 
sympathy with the patriotic sentiments of revolutionary times seems to 
be indicated in a satirical stanza, which has come to us from an informant 
who learned it in youth of her aged grandmother, and which appears 
also to have been originally a dance -song. We hope that errors in 
spelling American Dutch may be forgiven : 

Loope, Junger, de roier korae — 
Spann de wagen voor de Paarde ! 



126 Games and Songs of American Children. 

That is, 

Run, lads, the king's men are coniing; 
Harness the wagons before the horses ! 

in jesting allusion to the speed with which the patriots were supposed to 
make off. The refrain is in part unintelligible to us, but seems to belong 
to a dance. 



No. 60. 
Sudden Departure. 
A visitor approaches the ring from without, and pleads : 

It snows and it blows, and it cuts off my nose, 

So pray, little girl, let me in ; 
I'll light my pipe, and warm ray toes, 

And then Til be gone again. 

He is admitted into the circle, and proceeds to perform the designated 
actions. Having " lighted his pipe and warmed his toes," he suddenly 
attempts to make his exit from the ring (all the members of which have 
clasped hands in expectation of his onset), throwing himself with that 
object against a pair of linked arms. 



No. 61. 
Scorn. 



Such was, and perhaps still is, the name of an amusement of a not 
very agreeable nature, familiar at children's parties in New England. A 
girl was seated on a chair in the middle of the room, and one child after 
another was led to her throne. She would turn away with an expression 
of contempt, until some one approached that pleased her, who, after a 
kiss, took her place. 

" Derision " is the name of a game mentioned by Froissart as an 
amusement of his childhood. It is*not at all unlikely that the present 
sport represents the old French pastime. 

Speaking of representations of the passions, we may say that we have 
heard of a game formerly played in New York, called "Hatred and Re- 
venge ;" but have not succeeded in obtaining it. 



The Pleasures of Motion. 



12 



VIII. 



THE PLEASURES OF MOTION. 

He asked a shepherd who stood near : 

" Why do these lads make merry here, 

Why is their round so gay ?" 

" They dance ahout a violet sweet, a lad hath found to-day." 

The drum, the harp, and fife, resounded round their play, 

All were of heart elate. 

Each dancing with his mate. 

I, Nithart, led the row. 
Once and again, around the violet to and fro. 

Minnesinger., l^th century. 

No. 62. 

Ring Around the Rosie. 

This little round, universally familiar in America, meets us again in 
Germany and Provence. After the transit of various languages, and 
thousands of miles, the song retains the same essential characteristics. 



I^E 



^ 



:^^^5z::t=J==i= 



-w 

I 



I 



Ring a ring a ro - sie, A 



-W T- -^ 

I ' ! 

bot - tie full of po 



Another version 



Ring a ring a rosie, 
A bottle full of posie. 
All the girls in our town, 
Ring for little Josie. 

New Bedford^ Mass. (about 1790) 

Round the ring of roses. 
Pots full of posies, 



128 



Games mid Songs of American Children. 



The one who stoops last 
Shall tell whom she loves best. 

At the end of the words the children suddenly stoop, and the last to get 
down undergoes some penalty, or has to take the place of the child in the 
centre, who represents the "rosie" (rose-tree; French, ws2'dr). 
Vulgarized forms of the round are common : 

Ring around the rosie, 
Squat among the posies. 

Ring around the roses, 
Pocket full of posies. 
One, two, three — squat ! 

And finally it is deformed past recognition : 

A ring, a ring, a ransy, 
Buttermilk and tansy, 
Flower here and flower there, 
And all — squat ! 

This last corruption was in use some forty years since in Connecticut. 



No. 63. 
Go Round and Round the Valley. 

A ring of dancers with clasped hands. A girl circles about the out- 
side of the rest, who join in singing — 



f 



B^= 



^ 



i^^ 



iE 



^ 



^: 



Go round and round the val - ley, Go round and round the val - ley, Go 



rf— ^— y 



m^ 



t 



S 



round and round the val 



m 



=g=-y— f 



ley. 



As we are all so 



gay- 



:|=t 



^^=^ 



=l=f= 



Go round and round the valley, 
As we are all so gay. 



The Pleasures of Motion. 



129 



The players now let go hands, and she winds in and out of the circle, 

singing — 

Gro in and out of the windows, 
As we are all so gay. 

She now stands facing one of the children, who sing — 

Go back, and face your lover, 
As we are all so gay. 

Taking the hand of one of the children, she salntes her — 

Such love have I to show you, 
As we are all so gay. 



The child selected then takes her place. 



New York streets. 



No. 64. 
The Farmer in the Dell. 
A single child stands in the centre of the ring, which sings : 



P 



^m 



1si:=iz 



-I 






--e-:^=\ 



The farm - er in the dell, 



The farm - er in the dell .... 



^ 



± 



^=±=S. 



M- 



J=i=t 



ii^lE 



=1^ 



-^=m~ 



Heigh ho ! for Row - lev 



0! The farm - er in 



the 



dell.. 



::F^ 



* 



-^"-f- 



z^-zz 



Tlie fanner in the dell. 
The farmer in the dell, 

Heigh ho! for Roivley f 
The farmer in the dell. 

The first child chooses and places beside himself a second, then a third, 
and so on, while the rest sing to the same tune : 

9 



130 Games and Songs of American Children. 

The farmer takes the wife — 
The wife takes the child — 
The child takes the nurse — 
The nurse takes the dog — 
The dog takes the cat — 
The cat takes the rat — 
The rat takes the cheese — 
The cheese stands alone. 

The " cheese" is " clapped out," and must begin again as the "farmer." 

New York streets. 



No. 65. 

The Game of Rivers. 

A girl is chosen to be the Ocean. The rest represent rivers. The 
rivers, by very devious courses (around school-desks, etc.), flow into the 
Ocean. Not unfrequently in their course to the sea, the rivers encounter 
somewhat violently. New York. 



No. 66. 
Quaker, How is Thee f 

"Quaker, Quaker, how is thee?" 

" Very well, I thank thee." 
" How's thy neighbor, next to thee ?" 

" I don't know, but I'll go sec." 

The question is accompanied by a rapid movement of the right hand. 
The second child in the ring inquires in the same manner of the third ; 
and so all round. Then the same question is asked with a Hke gesture 
of the left hand, and, after this has gone round, with both hands, left 
foot, right foot, both feet, and finally by uniting all the motions at once. 
" A nice long game," as our little informant said. 

Neio York, Philadelphia, etc. 



The Pleasures of Motion. 131 

No. 67. 
Darby Jig. 

This absurd little rhyme was formerly used to accompany an animated 
dance, in which the arms were placed behind the waist, and the hands 
rested on the hips, with alternate motion. 

Darby, darby, jig, jig, jig, 
I've been to bed with a big, big wig ! 
I went to France to learn to dance — 
Darby, darby, jig, jig, jig ! 

Philadelphia; Massachusetts. 



No. 68. 

Right Elbow In. 

Put your right elbow in. 
Put your right elbow out. 
Shake yourselves a little, 
And turn yourselves about. 

Put your left elbow in, 
Put your left elbow out. 
Shake yourselves a little, 
And turn yourselves about. 

Then followed right ear and left ear, right foot and left foot, etc. The 
words we give were in nse some sixty years since, when the game was 
danced deliberately and decorously, as old fashion was, with slow rhythmi- 
cal motion. ISTow it has been turned into a romp, under various names 
(in Boston, " Ugly Mug"). The English name is " Hinkumbooby." 



No. 69. 

My Master Sent Me. 

" My master sent me to you, sir." 

" For what, sir ?" 

" To do with one as I do, sir." 



132 Games and Songs of American Children. 

The person who gives orders beats time with one foot, then both feet, 
one hand and both feet, two hands and both feet, etc. The game, like the 
preceding, is performed with a dancing motion. New York. 



No. TO. 

HuTnjpty JDumpty. 

This game is for girls only. All present sit in a circle, then each girl 
gathers her skirts tightly, so as to enclose her feet. The leader begins 
some rhyme ; all join in, and at a w^ord previously agreed on, keeping the 
skirt tightly grasped, throw themselves over backward. The object now 
is to recover the former position without letting go the skirt. 

New York. 



No. 71. 

Pease Porridge Hot. 

This familiar little rhyme is accompanied by two players with alternate 
striking of the hands together and against the knees, in a wa.j easier to 
practise than to describe. School-girls often use it to warm their hands on 

cold winter mornings. 

Pease porridge hot, 

Pease porridge cold, 
Pease porridge in the pot, 
Nine days old. 



No. 72. 

Phymes for a Pace. 

Up the street, down the street, 

Here's the way we go. 

Forty horses standing in a row ; 

[Dolly] on the white one, 

[Harry] on the black one, 

Eiding to Harrisburg five miles away. 

Philadelphia. 



The Pleasures of Motion. 133 

We suppose the abov^e formula to be a rhyme for starting in a race. The 
common schoolboy verse — 

One to make ready, 

Two to prepare, 
Three to go slambang, 
Right — down — there, 

appears to be a parody of the older English rhyme, 

One to make ready. 

And two to prepare. 
Good luck to the rider. 

And away goes the raare. 



No. 73. 

Twine the Garland. 

We find mentioned in the " Girls' Own Book," Boston, 1856, a dance 
of girls which has the characteristics of an old game. Girls take hold of 
hands, one standing still ; the rest twist about her until they form a knot. 
They then untwist in the same manner, singing, " Twine the garland, 
girls !" and, " Untwine the garland, girls !" 



ISTo. 74. 
Hopping-dance. 

This name was formerly given in ISTew England to a dance similar to 
that known in Scotland as Curcuddie. The hands were clasped under the 
knees, and the children slowly and solemnly described squares and triangles 
on the floor. 

We may add here an unnamed amusement for school-girls, which con- 
sists in joining hands behind the back (giving the right hand to the left 
hand of a partner), and then turning, while retaining the hold, so as to 
stand facing each other. This movement is then repeated until the couple 
whirl about with considerable rapidity. 



134- Games and Songs of American Children, 



IX. 

MIRTH AND JEST. 

— fulle stiififed a male 
Of disportes and newe pleyes. 

Chaucer'' s Dreme. 

'Eo. 75. 

Cltih Fist. 

A CHILD lays on a table his clenched fist, with the thumb elevated ; 
another grasps the raised thumb with his own fist, and so on until a pile 
of fists is built up, A player, who remains apart from the group, then 
addresses the child whose hand is at the top : 

"What's that?" 

"A pear." 

" Take it off or I'll knock it ojff." 

The same conversation is repeated with the next child, and so on ; the 
fist being withdrawn as speedily as possible, to escape a rap from the 
questioner. When only one is left, the following dialogue ensues ; 

" What have you got there ?" 

" Bread and cheese." 

"Where's my share?" 

"Cat's got it." 

"Where's the cat?" 

"In the -woods." 

" Where's the woods ?" 

" Fire burned it." 

"Where's the fire?" 

" Water quenched it." 

"Where's the water?" 

" Ox drank it." 



Mirth and Jest. 135 

"Where's the ox?" 
"Butcher killed it." 
"Where's the butcher?" 
" Rope hung him." 
"Where's the rope?" 
" Rat gnawed it." 
" Where's the rat ?" 
"Cat caught it." 
"Where's the cat?" 
" Behind the chui-ch-door. The first who laughs, or grins, or shows the teeth 
has three pinches and three knocks." 

Then follows a general scattering; for some child is sure to laugh, and if 
he does not do so of his own accord, his neighbors will certainl_y tweak 
him, poke him, or otherwise excite his risibility. Georgia. 

In Pennsylvania the conversation ends: 

"Where's the butcher?" 
" He's behind the door cracking nuts, and whoever speaks first I'll slap his fingers, 
Because I am the keeper of the keys, 
And T do whatever I please." 

This dialogue, based on a well-known nursery tale, has maintained itself 
with remarkable persistence, and even verbal identity, in several European 
languages. We meet it in Germany and Denmark, as well as England. 



E"o. 76. 
Robin's Alive. 



This celebrated game was formerly much played in New England dur- 
ing the winter evenings. A stick was lighted, and passed from hand to 
hand. It was an object to transfer it as quickly as possible ; but each 
player, before handing it to his neighbor, must repeat the rhyme — 

The bird is alive, and alive like to be, 

If it dies in my hand you may back-saddle me. 

Or else, " Robin's alive," etc. 

The "back- saddling" consisted in depositing the person, in whose 



1 36 Games and Songs of American Children. 

hand the light went out, upon the back on the floor, and afterwards piling 
upon him (or her) chairs and other furniture. 

Another formula is given in the " Girls' Own Book:" 

"Robin's alive, and alive he shall be; if he dies in my hand, my mouth 
shall be bridled, my back shall be saddled, and I be sent home to the 
king's Whitehall." 

When the light expired it was said : " Robin is dead, and dead he shall 
be ; he has died in your hand, and your mouth shall be bridled, your back 
shall be saddled, to send you home to the king's Whitehall." 

This game is played all over Europe with similar formulas ; but we 
are not aware that the "back-saddling" feature has been practised out of 
England and America. The person in whose possession the light is ex- 
tinguished usually pays forfeit. 

It has been suggested, with plausibility, that the s]3ort is connected 
with an ancient rite: namely, the races of torch-bearers, which formed 
part of certain festal ceremonies, and in which the courier in whose hands 
the torch went out was a loser. Such contests are repeatedly alluded to 
by classic writers; but their exact conduct is involved in some obscurity. 
In such a race, at Athens, the torch was kindled on the altar of Prome- 
theus, and handed to the runner, whose duty it was to pass it, while still 
alight, to a second, and so on. This ceremony has suggested a celebrated 
line to Lucretius, who compares the flying ages to "runners wdio pass 
from one to another the torch of life." 



Ko. 77. 
Laughter Games. 

There is a whole class of games of which the object is to excite to 
laughter by means of some ridiculous action. 

Such games are sometimes played with a lighted candle. The players 
approach each other from opposite sides of the room, and sustain a dia- 
logue in solemn tones, while they must keep a grave countenance on 
penalty of paying forfeit. For example : 

" The king of Turkey is dead." " What did he die of ?" " Doing 
so" (some ridiculous gesture). 

A more characteristic version (in Nantucket, Mass.) had it: " The royal 



Mirth and Jest. 137 

Russian princess, Husty Fusty, is defunct." To which it was necessary 
to answer soberly — " I'm very sorry to hear it ; even the cats bewail her 
loss." 

A game which was formerly popular with children in Massachusetts 
was to lean a staff in the corner, while a player was seated in the centre of 
the ring. Another child now entered, took up the staff, approached and 
addressed the one sitting, and a rhymed dialogue ensued : 

" My father sent me here with a staff, 
To speak to you, and not to laugh." 
"Methinks you smile." " Methinks I don't. 
I smooth my face with ease and grace. 
And set my staff in its proper place." 

If the staff-bearer laughed, he or she must take the chair ; otherwise 
the next plaj^er continued the game. 

A third amusement is for girls to excite one another to laugh by 
gently pinching in succession the ears, nose, lips, etc., while making use 
of some ridiculous expression. 

This usage is alluded to more than three centuries ago by Rabelais. 

In a Swiss game, this performance is complicated by a jest. Each 
child pinches his neighbor's ear ; but by agreement the players blacken 
their fingers, keeping two of the party in ignorance. Each of the two 
victims imagines it to be the other who is the object of the uproarious 
mirth of the company. 



No. 78. 

Bachelor's Kitchen. 

The children sit in a row, with the exception of one, who goes in suc- 
cession to each child, and asks him what he will give to the bachelor's 
kitchen. Each answers what he pleases, as a saucepan, a mousetrap, etc. 
When all have replied, the questioner returns to the first child, and puts 
all sorts of questions, which must be answered by the article which he be- 
fore gave to the kitchen, and by no other word. For instance, he asks, 
" What do you wear on your head ?" " Mousetrap." The object is to 
make the answerer laugh, and he is asked a number of questions, until he 
either laughs or is given up as a hard subject. The questioner then passes 
to the next child, and so on through the whole row. Those who laugh, 



138 Games and Soitgs of American Children. 

or add any other word to their answer, must pay a forfeit, which is re- 
deemed in the same way as in other games. Camhridge, Mass. 



^o. 79. 

The Church and the Steeple. 

Little girls, with appropriate motions of the closed fist, or of the 
inverted hand with raised fingers, say, 

Here is the church, 

Here is the steeple, 

Here is the parson, 

And all the people. 

An Italian iinger-game well exhibits the different mental state of children 
in the two countries. The words are : " This is the Inferno, and this the 
Paradiso." The fingers of the two hands, crossed within, represent the 
disturbed world of wretchedness ; the back of the hands, turned, where 
a:ll is calm, typify Paradise. 



No. 80. 
What Color? 



A tumbler of water and a thimble are required. One child is sent 
out of the room, and to each of the others a different color is allotted. 
The first is then expected to name the color of some child. If she suc- 
ceeds in her guess, a thimbleful of water is thrown in her face. The 
guessing is continued till this takes place, when the thrower becomes the 
guesser for the next turn. Cincinnati. 



Ko. 81. 

Beetle and Wedge. 

There are games in which the guesser has only Scogan's choice^ be- 
tween two sorts of disaster, 

* Scogan's choice is equivalent to Hobson's choice; both are heroes of old jest-books. 



Mirth and Jest. 139 

Thus, a party of boys pitch on two who are unacquainted with the 
game, and ask them if they would not like to play " Beetle and Wedge." 
"The fun is to be the Beetle and the Wedge," they explain. The vic- 
tims consenting, the Beetle is then driven against the Wedge, back to 
back, with a force that " sends him flying." This amusement belongs to 
Connecticut. 

In Philadelphia a boy is asked whether he prefers mustard or pepper ; 
in either case receiving corresponding personal inflictions. So in the Eng- 
lish game of " Trades" a boy is made to guess the trade of the questioner, 
and is hammered, planed, or rasped, accordingly. 



I>ro. 82. 
Present and Advise. 

All the children, except two, are seated in a row. One of these whis- 
pers in the ear of each child, "I present you with this." The second, in 
like manner, adds, " I advise you what to do with it." 

Another old whispering-game, belonging, like the preceding, to l^ew 
York, is called " Sentiment." Each child tells his neighbor on the right 
the name of a person, and repeats to the one on the left a verse of poetry, 
usually of a sentimental character. The name and verse are then to be 
repeated together as in the former game. 



No. 83. 
Genteel Lady. 

"I, genteel lady, always genteel, come from the genteel lady, always 
genteel, beg leave to inform you that my ship has just come in from China 
laden with apricots." 

The next player has to repeat, adding some object beginning with J, 
such as biscuit ; the next player one beginning with c, and so down the 
alphabet. If any one hesitates, or makes a mistake, a lighted " lamp- 
lighter" (New England, sjnll) is stuck in her hair, and she is the "one- 
horned," instead of the "genteel" lady; and for two mistakes the two- 
horned" lady, and so on. This juxtaposition of curls and "lamp-lighters" 
is by no means always safe, Georgia, 



140 Games and Songs of American Children. 

Of this game we observe that, like several amusements familiar in this 
State, it is of French origin.* 



No. 84. 
Beast, Bird, or Fish. 

A member of the party throws to anotlier a knotted handkerchief, 
saying one of the above words, and counting up to ten. The catcher 
must answer in the given time the name of some animal of the kind 
required, not already cited by some other player. 

Whoever fails to reply while the counting is going on, is out of the 
game. After the names of commoner animals are exhausted, the game 
becomes a test of quickness and memory. 



No. 85. 

Wheel of Fortune. 

A picture of a wheel- is drawn upon the slate, and a number written 
between each of its spokes. The eyes being tlien closed, the child whose 
turn it is raises a pencil in the air, twirling it, and saying, 

Tit for tat, 
Butter for fat, 
If you kill my dog I'll kill your cat. 

At the last word the pencil is brought down ; if the point of the pencil 
falls on a space, the number there written is scored ; if on a line, or outside 
the circle, or on a number previously secured (and erased by a line), the 
turn is forfeited. The game is continued until a certain number has been 
scored by the winning player. Georgia. 

* The game is called ' ' Le Chevalier Gentil, " and proceeds thus : ' ' Bon jour, chevalier 
gentiljtou jours gentil ; moi chevalier gentil, tou jours gentil, je viens de la part du chevalier 
gentil, toujours gentil (so designating the left-hand neighbor) vous dire qu'il y a un aigle S. 
bee d'or, ^ pattes d'argent, " etc. A player who misses receives "un petit cornet de pa- 
pier," and is known as "chevalier cornu, biscornu," etc., or " damoiselle cornette ^ tant de 
cornes." 



Mirth and Jest. 141 

No. 86. 

Catches. 

" I went up one pair of stairs." 

"Just like me." 

"There was a monkey." 

"Just like me." 

"I one'd it." 

" I two'd it," etc. 

"1 ate [eight] it." 

This (to children) exquisitely witty dialogue has its German counter- 
part.—" I went into the wood." " So did I." " I took an axe." " So did 
I." "I made a trough." "So did I." "Seven pigs ate of it." "So 
did I." * 

Equally well known is the jest, " I am a gold lock," " I am a gold 
key," etc. — ending "I am a monk-lock," "I am a mon-key." 

We may mention also a familiar catch, " Say my cat, my cat, and not 
my dog." "My dog" must not be spoken. 

Of a different character are the following jests : 

The lights being extinguished, a knife is passed round the circle of 
players, and the following conversation ensues', each phrase being con- 
tinued from left to right of the ring : 

"What's this?" 

"A dagger." 

"Where did you get it?" 

"Stole it." 

"What was done with it?" 

All of the company who understand the jest shriek aloud, which accom- 
plishes the object of terrifying the rest. 

Somewhat similar (in New York) is the following: 

" Neighbor, I've got a hatchet to sell." 
"Did you buy it?" 
" No." 

* A French catch: "J'ai monte un escaUer." "Comme moi." "Je suis entre dans 
la chambre." "Comme moi." "J'aivuune petite bolte." "Comme moi." "Je I'ai 
ouverte." "Comme moi." "II y avait une grosse Mte." " Comme moi." 



142 Games and Songs of Ainerican Children. 

"Did you steal it?" 
"Sh— " 

In the following conversation, one sentence at a time is repeated in a 
whisper to the left-hand neighbor, and so passed round the circle, the fun 
consisting in the imitation of crowing at the end. 

"Hath she feathers?" "Feathers she hath." "Doth she crow?" 
" Crow she doth." " How doth she crow ?" (An imitation of crowing 
follows.) 



No. 8Y. 
Intery Mintery. 



An evening amusement formerly common in Massachusetts. All 
present laid their hands with fingers resting on the knees. The speaker 
then told off the words of the rhyme, one for each finger. The rhyme 
being thus recited, that finger to which the last syllable fell must be 
quickly withdrawn, on penalty of being sharply rapped by the hand of 
the leader. After all had been counted out but one person, he or she 
was liable to the same risk for every word of the rhyme — the result of 
which situation is alluded, to by the epithet "black finger." 

Intery mintery cutery corn, 
Apple-seed and apple- thorn, 
A¥ire, briar, limber lock, 
Twelve geese in a flock ; 
Sit and sing by a spring, 
0-u-t spells out, and in again. 
Over yonder steep hills, 
Where my father he dwells. 
He has jew^els, he has rings, 
And very many pretty things. 
Strike Jack, lick Tom, 
Blow the bellows, 
Black fino-er — out-of-the-ffame. 



Mirth and Jest. 143 

JSTo. 88. 

Redeeming Forfeits. 

The girl who is to assign the penalty by which the forfeit must be re- 
deemed lays her head on the lap of another who sits on a chair, while a 
third, standing behind, holds the article over her head and asks : 

" Here is a forfeit, a very fine forfeit ; what shall be done to redeem it ?" 
" Is it fine or superfine ?" (/. e., does it belong to a gentleman or to a lady). 

The sentence is then declared. 

Another formula, used in the Middle and Southern States, is : 
"Heavy, heavy, what hangs over you?" 

The German usage is nearly the same, the question being " Lord 
judge, what is your sentence, what shall he do whose pledge I have in 
my hand ?" 

The following are examples of old penalties, which usually involved 
kissing, with infinite variety of method : 

To go to Rome. To kiss every girl in the room. 

Flat-irons. The lad and lass lay their hands on the wall and kiss. 

Measuring yards of tape, and cutting it off. To kiss with the arms ex- 
tended. 

'•'' Pm in the wellP " How many fathoms deep?" (Any number is an- 
swered.) "Whom will you have to take you out?" (Some one of 
the company is named.) Each fathom represents a kiss. 



^o. 89. 
Old Mother Tipsy-toe. 

This is a very popular game with girls in various parts of the United 
States. 

The children sit in a row, with the exception of the mother, who comes 
up and asks each child in turn, " How did you tear your dress ?" After 
hearing their various excuses, she again traverses the row, indicating the 
part of the dress to be mended, and saying : 

I give you so much work to do, 
Use thimble, thread, and needle too ; 



144 Games and Songs of American Children. 

If you don't get it done before I come back, 
I'll give you a slap across your back. 

She slaps her children on the shoulder and goes out, forbidding them to 
follow her. As soon as her back is turned, they all jump up and run after 
her, shouting, " Old mother Tipsy-toe," * or, as in a variation from New- 
York: 

Old mother Tippety-toe, old mother Tippety-toe, 

I'll follow my mother wherever she go. 

The mother now goes into a shop, and orders various articles, the children 
repeating after her whatever she says. For instance, the mother says, " I 
want two pounds of butter." " I want two pounds of butter," shout the 
children in chorus. Finally she says, "And I want a stick to whip my 
children with," upon which she turns to leave the shop, while the children 
rush before her, and scramble back to their seats before their mother 
comes home. The latter then goes to each child in turn, saying, " Let me 
see how well you have mended your dress." The children all hold the 
hem of their dresses as firmly as they can, with their hands somewhat 
apart. The mother strikes with her hand the part of the dress that is be- 
tween their hands ; and if they let it go, she scolds and beats them for 
their bad mending. Camhi'idge, Mass. 

In another way of playing, which makes the game one of chase, " Old 
mammy Tipsy-toe" addresses her children : 

I give you this much work to do, 

Use thread and needle, thimble too ; 
If you don't have it done 

By the time that I come home, 
You'll be beaten black and blue 

With my old shoe. 

She then makes preparations to depart : 

I'm going to Lady Washington's, 

To get a cup of tea, 
And five loaves of gingerbread, 

So don't you follow me. 

The children, of course, pursue lier with shouts of defiance, upon which 

* Or, as played by the children from whom this version was obtained, Old mother Oripsy- 
crops. The name "Tipsy -toe" is derived from the limping gait supposed to belong to 
witches. See No. 154, C. 



Mirth and Jest. 145 

she turns and chases them, while they rush to their places. She comes 
back, and demands of the children : 

"Have you been out to-day?" "No." "You have. Where have 
you been?" " To grandmother's." "What did you get?" "A slice of 
cake." " Where is my share ?" " In the bandbox." " But I might break 
my neck getting it." " I wish you would." On this, she chases the chil- 
dren, who fly and scatter. Any child she catches is out of the game, 
which is continued until all are captured. Philadelphia. 



No. 90. 

Who Stole the CardinaVs Hat? 

The children being seated in a circle, a child, who does not take part 
in the game, whispers to each of the rest a name representing some color, 
as " Red-cap," " Blue-cap," " YelloM^-cap," etc. Two players are excepted, 
one of whom is called "My man John," and one represents the cardinal. 
The latter now leaves the room, first placing in the hands of "John" a 
little billet of wood, bidding him take care of the Cardinal's hat, which at 
the same time he declares to be of some particular color, as green. " John " 
conceals this somewhere in the room. The child who went out then en- 
ters, armed with a cane, and demands the Cardinal's hat. "John" affects 
to have forgotten all about it, and asks, " What color was it ? green ?" and 
so on until he guesses the color. Being thus reminded, he declares 
that some one of the group, as, for example, " Red-cap," has stolen it. 
"Red-cap" is now asked by the questioner, "Red-cap, did you steal the 
Cardinal's hat ?" He also must pass on the charge, saying, " No, it was 
White-cap" (or any other color). If he omits to do so, or names a color 
not included among the players, he must pay forfeit. Meanwhile the ques- 
tioner becomes indignant at the numerous denials, and proceeds to extort 
confession by torture, rapping with his cane the fingers of those whom he 
addresses. If he succeeds in obliging any child to confess, the latter must 
pay forfeit. At last "My man John" owns the theft, produces the hat, 
and the game is begun again, until a sufficient number of forfeits have 
been collected. Saratoga, New York. 

This game is also played in Switzerland. The name of a color havino- 
been given to each child, a ball is stealtliily passed about the circle. The 

10 



146 Games and Songs of American CJiildren. 

"Abbot of St. Gall" enters, and exclaims, "The Abbot of St. Gall has 
lost his night-cap ; they say White stole it." The player whose color is 
named, if he has the ball, must pass it behind his back to another, saying, 
" Not White, Red has it." Whoever is caught in passing the ball, or 
names a color not in the game, or fails to answer when his name is called, 
must pay forfeit, or have liis face marked with burned cork. It will be 
seen that the Swiss game corresponds to the American, except that in the 
latter the ball is concealed instead of being passed round ; but we think it 
likely that the memory of our informant (a child) may have been at fault 
in this respect. 

The Gentlemavb s Magazine, February, 1738, mentions a game called 
" The Parson hath lost his Fuddling Cap." The Spectator, l^o. 268, also 
refers to this sport : " I desire to know in your next if the merry game 
of ' The Parson has lost his Cloak," is not mightily in vogue amongst the 
fine ladies this Christmas, because I see they wear hoods of all colours, 
which I suppose is for that purpose." From this last extract it appears 
that the names " Red-cap," etc., are a reminiscence of the variously colored 
hoods once employed in the game. 



Guessing-Games. ia^"] 



X. 

0UE88ING-GAME8. 

"As boys, when they play at 'how many,' hold out their hands in such a way 
that, having few, they pretend to have many, and having many, they make believe 
to have few." — Xenophon, Treatise on the Duties of a Cavalry Officer. 

m. 91. 
Odd or Ev e n. 

A SMALL number of beans or other counters are held in the hand, and 
the question is, Odd or Even? If the guess is even, and the true number 
odd, it is said " Give me one to make it odd," and vice versa. The game is 
continued until all the counters belong to one or other of the two players. 

This amusement was familiar in ancient Greece and Rome, as it is in 
modern Europe, In the classic game the player gained or lost as many 
as he held in his hand. 



No. 92. 
H ul G ul. 



This game is played by three, four, or more, who stand in a circle. A 
child then addresses his left-hand neighbor, and the dialogue is : 

"Hul Gul." 

"Hands full." 

" Parcel how many ?" 

The second player then guesses the number, two guesses being sometimes 
allowed. If, for example, tlie guess is five, and the real number seven, 
tlie first responds, " Give me two to make it seven," and so on until all 



148 Games and Songs of American Children. 

the counters have been gained bj^ one player. The number allowed to be 
taken is often limited, by agreement, to six or ten. 

The counters are beans, grains of corn, marbles, nuts, and, in the 
South, chinquapins.^ 

A childish trick is to expand the band as if unable to hold the num- 
ber of counters, when in fact they are but one or two. Oddly enough, 
this same device is alluded to by Xenopbon as in use in his day in the 
game of " How many ?" — the classic equivalent of our game, in which the 
question was, " How many have I in the hand ?" just as we say, " Parcel 
how many ?" So, in these sports, the interval of two thousand years 
vanishes. 



No. 93. 

How many Fingers? 

A child hides his head on another's lap, and guesses the number of 
fingers raised. We find a rhyme for this given in the " Girls' Own Book." 

" Mingledy, mingledy, clap, clap, clap, 
How many fingers do I hold up?" 
" Three." 
" Three you said, and two it was," etc. 

Another form of this game consists in schoolboys mounting on each 
other's back and raising fingers, of which the number is to be guessed. 
The English formula for this purpose is given by Tylor thus, " Buck, 
buck, how many horns do I hold up?" We are not aware that the 
practice continues to exist in this country. 

In the famous finger-game of " Morra," the sum of the fingers raised 
by the two players is counted. The game is played with such rapidity, 
and the calling is so rapid, that conjecture plays a larger part in the game 
than eyesight. " Morra " has been a favorite for nearly four thousand 
years, for it is represented on early Egyptian monuments, where the play- 
ers are depicted as using the right hand, and scoring with the left, very 
much as is done in the south of Europe at the present day. 

It is very likely, however, that the nursery usage we are now concerned 

* " Chinquapin {Castanea primula), an ovoid, pointed, sweet nut, half the size of a com- 
mon chestnut." 



Guessing- Games. 1 4 9 

with is as old. Petronins Arbiter, in the time of Nero, describes Tri- 
inalchio as so playing with a hQj. The latter, "mounting as on horseback, 
smote his shoulders with the open hand, and laughing said, " Bucca, bucca, 
how many ?" * 

We will not undertake to decide whether the reported coincidence of 
the Latin and English formulas is a genuine example of transmission. 
The game, however, and the question, " How many ?" have certainly en- 
dured for two thousand years, and very likely existed as long before the 
days of Petronins, or from a time as remote as that to which can be traced 
the more complicated game of "Morra." 



No. 94. 

Right or Left. 

A common way of deciding a dispute, selecting players, or determining 
who shall begin a game, is to take a pebble or other object in the closed 
fist, and make a comrade guess in which hand it is contained. 

The old - fashioned way of holding the hands, both in England and 
Germany, was to place one fist on top of the other ; and a like usage for- 
merly prevailed in New England, though we have not met with the Eng- 
lish rhyme : 

Handy-dandy riddledy ro, 

"Which will you have, high or. low? 



No. 95. 

Under which Finger f 

A child takes a bean in the hand, closes it, and asks a companion to 
guess under which finger it lies ; if the latter fails, he must pay a bean. 

* Bucca, bucca, quot sunt hie?" 



1 50 Games and Songs of American Children. 

No. 96. 

Comes, it Comes. 

A simple gnessing-garae, familiar to children in iSTew England. One 
child of the party says to another, " It comes, it comes." Tlie player ad- 
dressed replies, "What do you come by?" The first replies by naming 
the initial letter of some object in the room ; if, for instance, it is the 
table he has in mind, he says, "I come by T." The rest must now guess 
what thing, beginning with this letter, is meant. 



No. 97. 

Hold Fast My Gold Ring. 

The children sit in a circle, with hands closed ; one takes the ring, 
and goes around with it, tapping the closed fists of the players as if 
inserting the ring, and saying : 

Biddy, biddy, hold fast my gold ring, 

Till I go to London, and come back again. 

Each child, in tnrn, is then required to guess who has the ring, and, if 
successful, takes the leader's place ; if unsuccessful, he pays forfeit. 

Georgia. 
This is known in Massachusetts as, 

Button, button, who's got the button ? 

Another form of the question is, " Fox, fox, who's got the box ?" 
In England the game goes, 

My lady's lost her diamond ring, 
I pitch on you to find it. 



G lies sing-Games. 151 

No. 98. 

My Lady Queen Anne. 

A ball is concealed with some one of the children who form the circle. 
A girl is placed in the centre, and a dialogue ensues; the ring singing: 

"My lady Queen Anne, 

She sits in the sun, 
As fair as a lily. 
As brown as a bun. 
The king sends yon three letters, and bids you read one." 

The girl answers : 

" I cannot read one unless I read all, 

So pray, Mr. [or Miss] , deliver the bail." 

If the person named has the ball, he or she takes her place ; if not, she 
continues as before. In England, a rhjnne is given for the latter case : 

"The ball is inine, and none of thine, 

So you, proud queen, may sit on your throne, 

While we, your messengers, go and come." 



No. 99. 

The Wandering Dollar. 

A coin is passed about the circle, and the central player is to guess 
who has it. The dollar is held in the palm, then passed about the ring by 
each player alternately clapping his hands together, and then extending 
his arms so as to touch the hands of his neighbor. For this purpose the 
right hand should be held downward, and the left turned upward, as the 
arms are extended. The coin is to ho, palmed from hand to hand, and the 
rhythmical motions being accompanied with song (to almost any tune) 
make a very pretty game, but one which requires much practice to master. 
The verse sung is, 

Dollar, dollar, how you wander, 
From the one unto the other ! 



152 Games and Songs of American Children. 

Is it fair, is it fair, 
To leave Miss [Anna] so long without a chair? 

Cincinnati. 

The game is a modern translation from the German, presumably by 
the children themselves. 



No. 100. 
Thimble in Sight. 

Among games of search may be mentioned the present, in which, the 
greater part of the company being sent out of the room, a thimble must 
be placed so as to escape notice, and yet in such a position as to be visible 
when the attention is once directed to it. As each of the party discovers 
the thimble, he indicates his success by saying " Rorum torum corum," 
or some such formula, and then takes his seat. 

In other games, in which some small object is hidden, there are vari^ 
ous ways of assisting the seeker when at fault ; thus, it is said jow freeze, 
you are cold, you are warm, you h^irn, according as the object is ap- 
proached ; or the search is directed by magical music, which grows louder 
as the person comes nearer to his object. These usages belong also to 
other countries. More original is a practice, common in Massachusetts, 
according to which the height of the concealed object above the floor of 
the room is indicated by the words " So high water," addressed by one of 
the company to the person who has been sent out, as he enters and begins 
his search. 



Guessing-Games. 153 



XL 

GAMES OF GHA8E. 

The spring clade all in gladness 

Doth laugli at winter's sadness, 
And to the bag-pipes round, 

The maids tread out their ground. , 

Fy, then, why are we musing. 

Youth's sweet delight refusing ? 
Say, dainty nymph, and speak, 

Shall we play Barley Break ? 

Old Song. 

No. 101. 

How many Miles to Babylon f 

A PARTY of young people stand at each end of a space, siicli as a por- 
tico, a field, etc., and a single plaj^er is stationed in the middle. The 
former address the latter: 

" Marlow, marlow, marlow bright, 

How many miles to Babylon?" 

" Threescore and ten." 

" Can I get there by candlelight ?" 

" Yes, if your legs are as long as light, 

But take care of the old gray witch by the road-side." 

The players at the ends of the field then run from side to side, and 
must be caught by the central player, whom they then assist to catch the 
rest. Georgia. 

This sport, which has been universally familiar in America, is a form 
of the old English game of " Barley Break," and probably the " marlow 
bright" of our version is a corruption of that name. 

The Scotch variety given by Chambers has a very chivalric turn, which 



1 54 Games and Songs of American Children. 

may give an idea of the song which must have accompanied the game in 
the time of Queen Elizabeth: 

" King and queen of Cantelon, 

How many miles to Babylon ?" 

" Eight and eight, and other eight." 

"Will I get there by candlelight?" 

" If your horse be good and your spurs be briglit." 

" How many men have ye ?" 

" Mae nor ye daur come and see." 

The poets of the Elizabethan age fully describe the game of " Barley 
Break," and seem to think it the most delightful of youthful amusements. 
They represent Diana and her nymphs as amusing themselves with this 
sport. 

It appears from Sidney's description that the game was played by three 
couples, each of a j^outh and a maid, one couple standing at each end of 
the area, and the third remaining in the centre. The mating was deter- 
mined by lot, and the last pair mated were obliged to take the central po- 
sition, and saluted each other by a kiss. This pair were required to pursue 
with joined hands, while the others were at liberty to separate. Any maid 
caught replaced the maid, and any youth the youth, of the central couple. 
Notwithstanding the courtly nature of the sport, that its fundamental idea 
is the same as that of our game appears by the name of the central space, 
as Sidney gives it in the " Arcadia :" 

Then couples three be streight allotted there, 
They of both ends the middle two do flie, 
The two that in mid-place Hell called were, 
Must strive with waiting foot and watching eye 
To catch of them, and them to Hell to bear. 
That they, as well as they. Hell may supplie. 

A New England variation introduces blindfolding, thus adapting the 
game to a chamber. Two children are made to kneel on stools, their eyes 
bandaged, and the rest must run between. The dialogue is : 

"How many miles to Barbary-cross ?" 

" Fourscore." 

" Are there any bears in the way ?" 

" Yes, a great many ; take care they don't catch you !" 



Games of Chase. 155 

No. 102. 

Hawk and Chickens. 

A hen with her brood. A child represents the " Old Buzzard," about 
whom the rest circle. The hen addresses the latter : 

" Chickany, chickany, crany, crow. 
Down in the gutter 
To get the hog's supper — 
What o'clock is it, old buzzard?" 

The Buzzard, meanwhile, is busied in building up a fire with sticks, and 
abruptly names any hour, when the question and answer are repeated for 
each child of the ring, until twelve o'clock, thus — 

"Half-past ten." 

" What o'clock is it, old buzzard ?" 

" Half-past eleven." 

" What o'clock is it, old buzzard ?" 

" Twelve o'clock." 

The ring now halts, and the dialogue proceeds: 

"Old buzzard, old buzzard, what are you doing?" 

" Picking up sticks." 

" What do you want the sticks for ?" 

"To build a fire." 

"What are you building a fire for?" 

"To broil a chicken." 

" Where are you going to get the chicken ?" 

"Out of your flock." 

The Buzzard gives chase and captures a child. He brings him back, 
lays him down, and proceeds to dress him for dinner. All the rest stand 
round in admiring silence. The Buzzard asks, 

" Will you be picked or scraped ?" 

According to the choice he proceeds as if picking the feathers of a bird 
or scaling a fish, and continues, with appropriate action, 

"Will you be pickled or salted?" 
"Will you be roasted or stewed?" 



156 Games and Songs of America^t Children. 

He drags the victim into one or another corner of the room, according to 
the replj'', and the game proceeds as before.* New England. 

In the Southern States a witch takes the place of the bird of prey, and 
the rhyme is, 

" Chickamy, chickaray, crany, crow, 
I went to tlie well to wash my toe, 
And when I came back my chicken was gone ; 
What o'clock, old witch?" 

The witch names any honr, and questions and answers are repeated as 
before, up to twelve : 

" What are you doing, old witch ?" 

'' I am making a fire to cook a chicken." 

"Where are you going to get it?" 

" Out of your coop." 

" I've got the lock." 

"I've got the key." 

" Well, we'll see who will have it." 

The witch tries to get past the hen, and seize the last of the line ; the 
mother, spreading out her arms, bars the passage. The witch cries, 

" I must have a chick." 

" You sha'n't have a chick." 

Each child caught drops out, and as the line grows shorter the struggle 
becomes desperate. Georgia. 

This latter way of playing is the older form of the game, and is also 
familiar, though without words, in the North, where it is known as " Fox 
and Chickens." 

This game is one of the most widely diffused, and the dialogue is 
marvellously identical, from Russia to Italy. 

In Schleswig-Holstein the conversation runs thus: 

" Hawk, what are you lighting ?" 
"A fire." 

* The first lines, "Cliickany," etc., are from one old version, the rest from another. 
In the first the bird of prey was called the "Blind Buzzard," and the game ended as 
Blind-man's Buff. 



Gaines of Chase. 157 

"What is the fire for?" 
" To make ashes." 
"What are the ashes for?" 
" To sharpen a knife." 
"What is the knife for?" 
"To cut oflE chickens' heads." 
"What have the chickens done?" 
" Gone into my master's corn." 

In our own country, among the Pennsylvania Germans, or, to use their 
own agreeable idiom, " De Pennsylfaunisch Deitsch," this game enjoys 
the distinction of being almost the only child's game w^hich is accompa- 
nied by words, and is played as follows : 

A boy who is digging in the earth is accosted by a second, who carries 
a handful of sticks, the longest of which represents the needle : 

" Woy, woy, was grawbst ?" 

" Meine Moder hat eine silberne Nodel verloren." 

" Is sie des ?" 

"Ne." 

"Is sie des?" 

" Ne." 

"Is sie des?" 

"Yaw."* 

The stooping child now rises and pursues the rest. 

A similar dialogue is used for a game of chase in New York : 

" Old mother, what are you looking for ?" 

"A needle." 

" What do you want a needle for ?" 

" To sew my bag with." 

"What do you want your bag for?" 

" To keep my steel in." 

" What do you want your steel for ?" 

" To sharpen my knife to cut off your head." 

In the same spirit, the Venetian game has: 

" Sister, what are you looking for ?" 
" A knife to kill you with." 

* That is: "Hawk, hawk, what are you digging for ?" "My mother has lost a silver 
needle." "Is it this?" "No." "Is it this?" "No." "Is it this?" "Yes." 



158 Games and Songs of American Children. 

Whereupon she pursues the questioners. In this version we find also the 
inquiry about the hour, the putting of the pot on the fire, the searching 
for the knife, and final scattering. 

The Fins on the Baltic coast, too, have the game in the form of a long 
song, beginning. 

Close together ! see the hawk yon ! 
Close together ! see his talons ? 

Which exactly corresponds to the Scotch, 

Keep in, keep in, wherever ye be — 
The greedy gled is seeking ye ! 



No. 103. 
Tag. 



In this game a child, usually selected by "counting out," pursues his 
comrades till he has caught one who must replace him. Thei*e is gener- 
ally some asylum of refuge, where the pursued are safe. 

The original form of this game seems to have been " Iron Tag," or 
" Tag on Iron," once universal in the United States, and still here and there 
played. In Germany and Italy, also, this is the usual form of the sport. In 
this game the pursued party is safe whenever touching iron in any shape, 
as the ring of a post, horse-slioe, etc.* A writer in the OentleraarC s Maga- 
zine., February, 1738, speaking of this amusement, says that "the lad saves 
himself by the touching of cold iron," and that "in later times this play 
has been altered amongst children of quality, by touching of gold instead 
of iron." In like manner, owing to the occasional scarcity of iron objects, 
wood-tag and stone-tag have been varieties of the sport in America. 

This form of the game exhibits its original meaning. As in several 
other games of chase, the pursuer represents an evil spirit, from whose 
attack, according to ancient superstition, iron was a protection. Hence 
the challenge, in Silesia and Switzerland, is, " Father, I have no iron, hit 
me."t The chaser, it seems, was conceived as tlie aged but powerful 

* " So-and-so had a nail driven into Ms shoe, and insisted that he could not be touched 
while standing on iron." — A Bostonian informant. 

f The French name in Berry is Tu I' as; elsewhere La caye ; in Limousin, (7a5e, which may 
have been derived from hoc hahe. 



Games of Chase. 159 

dwarf, of malignant character. Thns we get a vivid idea of the extent 
to which such representations once affected the lives even of children, and 
see that an amusement which is now a mere pleasurable muscular exercise 
followed the direction imposed by belief. 

There are numerous varieties of this game. In cross-tag, che pursuer 
must follow whoever comes betw^een him and the pursued. In squat-tag, 
the fugitive is safe while in that position, or is allowed a given number of 
"squats," during which he cannot be touched. A peculiar variety (in 
Philadelphia) is " Tag, tag, tell a body." In this ganie every child is for- 
bidden to tell who is "it," on penalty of replacing him. Sometimes the 
name of the pursuer is kept secret until revealed by his actions, or the 
child who has been tagged deceives the rest by keeping up his speed. 
On the other hand, the catcher is sometimes bound to turn his cap in- 
side out, whence the game is called turn-cap. 

"Pickadill" is a kind of tag played in Massachusetts during the winter. 
A large circle is made in the snow, with quartering paths; if there are 
many players, two circles are made. There is one tagger, and the centre 
is the place of safety. 

"London Loo" is a particular species of the game (in Philadelphia) in 
which the following formula is used : 

" 1, 2, 3, 4, 5, 6, 7, 8, 9, 10— London !" 

" Loo !" 

" I'll try to catcli one of you.'' 



No. lOL 
Den. 



This is an out-of-doors game. Each boy represents a wild beast, and 
has a separate ti'ee, which represents his "den." 'Any player who leaves 
his den is liable to be tagged by any who has started out at a later moment. 
The best runner usually ventures first, a second pursues him, and so on, 
until all may be out at once. If a player can tag any one whom he has a 
rio-ht to capture, he takes him home to his own den, and the latter must 
help him to take the rest. The pursuer cannot be tagged while bringing 
home his prisoner. Camlridge, Mass. 



r6o Games and Songs of Americaji Children/ 

No. 105. 

This game is world-old and world-wide. To judge bj the description 
of Pollux (in the second century), it was then played exactly as American 
children play it to-day. " One of the party places himself in the middle 
of his comrades, and closes his eyes, unless some other covers them for 
• him. The players run away and scatter. Then the pursuer opens his 
eyes and proceeds to look for them. It is each player's object to reach 
that one's f ground before him." 

An ancient painting represents this game. Cupids are playing to- 
gether. One of these, with his face turned away, has his hands before 
his eyes, and appears to be counting. Another is running to a place of 
concealment, while a third peeps from behind the door. 

Children, with ns, usually count a hundred before beginning the 
search ; but there is an abbreviated method, not accounted fair — 
Ten, ten, and double ten, 
Forty-five and fifteen. 

The "home" is usually a tree. When the seeker catches sight of any 
of the players, he (or she) runs to the tree, and touches it thrice, saying, 

"One, two, three, for " (naming the child). On the other hand, if 

the latter can reach the tree first, he touches it, saying, " One, two, three, 
for myself." X 

In a variety of the game, a stick is set up against a tree. One of the 
players seizes it, and throws it as far as possible. The children hide, 
while the one who happens to be "it" gets and replaces the stick, after 
which he proceeds to look for the rest. Those whom he discovers he 
captures as above described, until all are taken. If any of the hiders can 
reach the tree and throw down the stick, all prisoners are released, and 
the seeker must begin over again. A similar game, in New York, is 
called " Yards off." 

"Hide and Seek" differs only in this, that there is no home to be 
touched, but the game is ended wdien the concealment is discovered. 
When the players are hidden they announce it by " whooping." 

* Pronounced Hie Spy. f He who is "it." 

X The identical words in Switzerland — " eis, zwei, dril fur mich;" or, "eis, zwei, drii fiir 
den oder den." 



Games of Chase. i6i 



No. 106. 
Sheep and Wolf. 

This is a very ancient hiding-game. A wolf is chosen by "counting 
out" or otherwise, who conceals himself, and then indicates that he is 
ready by howling. 

The rest of the party, who are supposed to be sheep, walk round the 
corner in a casual way, until one calls out, "I spy a wolf," whereupon all 
immediately take to their heels. ■ Whoever is caught by the wolf before 
reaching home must take his place for the next turn. This game is 
nearly identical in most European countries. ' JVeio Yorlc. 



No. 107. 
JBlanh and Ladder. 
A boy is selected by the following peculiar counting rhyme : 

In came a little man with a white hat ; 

If yon want a pretty girl, pray take that; 
Take your choice of one, two, or three, 

If yon want a pretty girl, pray take she. 

Lad after lad being successively excluded, the last remaining is "it," and 
has to hide himself, when he calls out, 

Blank and ladder ! 

The searcher may summon the fugitive to indicate his whereabouts : 

Halloo if you're far off, whistle if you're nigh. 

Sdleniy Mass. 

In Portland, Me., the shout of the concealed party is, "Blank, blank, 
Cornelia!" and in the western part of the State of New York, "Blanca- 
lilo !" 

The searcher, on discovering one of the hidden players, calls " lii spy !" 
and tries to touch the latter before he can reach goal, the rule being that 

Elbow and knee 

Always go free. 

11 



1 62 Games mid Songs of American Children. 

No. 108. 
JBlind-man' s Buff. 

A blindfolded player is led into the centre of a room, taken by the 
shoulders, and turned about three times, after which he must catch some- 
body to replace him. 

For this initiation there is in the Middle States a rhyme : 

" How many horses have you in your father's stable ?" 

" Three ; black, white, and gray." 

"Turn about, and turn about, and catch whom you may."* 

The English name, " Hoodraan-blind," is derived from the manner of 
blindfolding formerly in use. When caps were worn which could be 
drawn at will over the face, the caps, reversed so as to cover the counte- 
nance, formed the mask. 

This game belongs to all ages and most countries, and is known by 
many different names, frequently taken from animals, for example : " Blind 
Cow" in Germany; "Blind Goat" in Sweden ; "Blind Mouse" in South 
Germany and Servia; "Blind Hen" in Spain; "Blind Fly," or "Blind 
Cat," in Italy. To the English name, "Blind-man's Buff," correspond the 
Polish "Blind Old Man," and the Norwegian "Blind Thief." In these 
titles a mythologic allusion is probably contained, which is quite clear in 
the Scotch " Belly-blind," f the latter name representing a malicious demon. 
Thus again appears the conception of a supernatural adversary so common 
in games of pursuit. 

A familiar variation makes this a ring-game. The blindfolded person 
stands in the centre, with a staff, while the ring circles about him. When 
he strikes the floor three times, the ring must pause. The person in 
whose direction he points must grasp the staff, and utter some sound, dis- 
guising the voice as much as possible. The first must then guess the 
name from the sound. In New York this form of the game is called 
" Peggy in the Ring," and the request is " to squeak." 

* The formula of German children in New Yorli, translated, runs : ' ' Blind cow, we 
lead thee." "Where?" "To the stable." "What to do there?" "To eat soup." "I 
have no spoon." " Go get one." The "blind cow" then seeks her "spoon." 

f Professor F. J. Child has shown tha,t Billie Blin, which occurs in English ballads, is 
originally a name of Odin, expressing the gracious side (German billig) of the blind deity. 
But it seems to have passed into a bad use, as a murderous dwarf or fairy. 



Games of Chase. 163 

In Cincinnati the game is also played in a dark room, without bandag- 
ing the eyes, and is then called " Devil in the Dark." 

Another variety, also commonly played without blindfolding, goes 
by the name of " Still Pond," or " Still Palm." The child who is " it," 

counting up to ten, says, 

Still proving, 
No moving. 

All now keep their places. The catcher must guess by the touch the 
name of his captive. 

The game of which we write is described by Pollux, as played seventeen 
hundred years since in various forms, all of which are still familiar : " The 
game of ' Muinda,' when any one, closing his eyes, cries, ' Look out !' and 
whomsoever he catches he makes him close his eyes instead ; or when, 
keeping his eyes shut, he seeks after the children who have hidden until 
he catches them ; or else he closes his eyes while the others touch him, 
and if anybody gives a clue himself, he speaks out and guesses till he gets 
it right:" 

When a bandage was used, the game was called the " Brazen Fly" (we 
may suppose a gaudy species of insect, from the zigzag motion, as boys 
run when chasing butterflies), and is thus described by the same author : 
" The eyes of a boy having been bound with a bandage, he goes round, 
saying, ' I shall chase the hrazenfly f but the others, answering, ' You will 
chase him but not catch him,' hit him with whips of papyrus, till he catches 
one of them." These papyrus whijDS were the equivalent of our knotted 
handkerchiefs. 



No. 109. 

Witch in the Jar. 

One of the children is selected for a witch, and each of the others 
chooses some tree or post for a goal. The witch then marks out on the 
ground with a stick as many circles as there are players, which she calls 
" jars." The children run out from their homes, and are pursued by the 
witch. Whenever she catches one, she puts him in one of her jars, from 
which he cannot escape unless some one else chooses to free him by touch- 
ing. Once freed, he cannot be recanght until he has reached his home, 
and ventures out once more. The freer, however, can be caught, and as 



164 Games and Songs of American Children. 

the witch keeps guard over her prisoners, it is a dangerous task for a 
player to attempt to set his companions free. When all are caught, a 
new witch is chosen. 



N"o. 110. 
Prisoner's Base. 

This game is also called " Prisoner's Bars ;" but the first name, men- 
tioned in " Cymheline," seems the older, from which the latter has arisen 
by misunderstanding. 

The game, which is also popular in Europe, is originally an imitation 
of warfare. The two armies stand facing each other, and have their hases 
each on a line parallel with that of the adversary. But in the United States 
the game has been changed, so that the two parties stand on the same line, 
and the bases are placed diagonally opposite at a distance of some thirty 
yards, so that each base is nearer to the enemy's forces than to those of the 
side to which it belongs. The game is opened by a challenge given by 
one leader to the other; each player can tag any one of the opponents 
who has quitted his line before he has left his own. Any player tagged 
must go to his base. Any player who can reach his base in safety may 
release a prisoner. 

As it often happens that a half-dozen runners may be pursuing a 
single fugitive, who is cut oif from his friends, the chase may be prolonged 
far from the point of departure, through streets of the town or fields of 
the country. 



]sro. 111. 

Defence of the Castle. 

After the battle of Dunbar, Oliver Cromwell'sent Colonel Fenwick 
with two regiments to reduce Hume Castle. The governor, Cockburn, 
when ordered to surrender, replied by quoting the following lines, which 
mu&t have belonged to a boys' game of his day : 

I, William of the Wastle, 
Am BOW in my castle, 
And a' the dogs in the town 
Winna o-ae me a'ano" down. 



Games of Chase. « 165 

The rhyme, with small change, is still familiar in Scotland, and the game 
well known in Pennsylvania, where the defiance runs, less chivalrously, 

Hally, hally, hastle, 

Come into my new castle ! 

Or, with a change of usage, 

Hally, lially, hastle, 

Get off of my new castle ! 

In the first case the defender maintains his post against assailants ; in the 
latter, he endeavors to capture one of a group who have established them- 
selves in his castle, represented usually by a cellar-door. 



1^0.112. 
L il L i I. 



This game is played in an open field. A boy stands in the centre of 
the field, and the other players at the sides. With the cry " Lil HI !" they 
run across. The tagger must touch a runner three times on the back, 
and whoever is so caught must assist him. There is a rhyme for this 

game — 

Lil, lil, 

Over the hill, 

Wash my lady's dishes, 

Hang them on the bushes, etc. 

"Lil lil!" is also a cry (in Boston) of children "coasting," when the track 
is to be cleared. 



ISTo. 113. 

Charley Barley. 

Charley, barley, buck and rye, 
What's the way the Frenchmen fly? 
Some fly east, and some fly west, 
And some fly over the cuckoo's nest. 

Portland, Me. 



1 66 Games and Songs of American Children. 

We have not obtained information as to the manner in which this 
game was played, but it is evidently identical with the Scotch rhyme : 

Hickety, bickety, pease, scone, 
Where shall this poor Scotchman gang? 
Will he gang east, or will he gang west, 
Or will he gang to the craw's nest? 

In the Scotch game, a boy, whose eyes are bandaged, rests his head against 
a wall, while the rest come up and lay their hands upon his back. He 
sends them to different places, according to the rhyme, and calls out, 
" Hickety, bickety!" till they have returned, when the last in must take- 
his place. The "crow's nest" is close beside the blindfolded boy, and is 
a coveted position. 

This game is also played in Switzerland. Each of the children receives 
the name of some animal, as Goat, Wolf, Snake, Frog, etc. To the swifter 
and more dangerous beasts are assigned the more distant positions. The 
keeper then shouts out that supper is ready, whereupon all rush home, 
each animal uttering his own peculiar cry. The last in is punished. 



ITo. 114. 

Milking-pails. 

All the players join hands in a row, except one, who stands facing 
them at a distance of a few feet. The row slowly advances towards 
the solitary child, and then retreats, singing, 

"Will you buy rae a pair of milking-pails, 
Oh, mother! Oh, mother? 
Will you buy me a pair of milking-pails, 
" Oh, gentle mother of mine ?" 

The mother, advancing and retreating in her turn, sings, 

" Where is the money to come from, 
Oh, daughter ! Oh, daughter ? 
Where is the money to come from, 
Oh, gentle daughter of mine ?" 

The dialogue then continues to the same air, 



Games of Chase. 167 

" Where shall your father sleep ?" 

" Sleep in the servant's bed." 

" Where shall the servant sleep ?" 

" Sleep in the stable," 

" Where shall the pigs sleep ?" 

" In the wash-tub." 

"Where shall we wash the clothes?" 

"Wash them in the river." 

" What if they should swim away ?" 

" You can jump in and go after them." 

On this the indignant mother chases her daughters, and whoever is first 
caught must take the mother's place. 

This game does not appear to be established in America, though we 
have heard of it as played in "West Virginia. Our present version is from 
children lately arrived from England, where it seems to be a favorite. 



No. 115. 
Stealing Grapes. 
A circle of children with arms raised. Enter keeper of garden : 

" What are you doing in my vineyard ?" 

" Stealing grapes." 

" What will you do if the black man comes ?" 

" Rush through if I can." 

New York. 

This game is probably a recent translation from the German. It is also 
played in Italy in a more humorous form. The thief exclaims, as he picks 
each, " A delicious grape !" The guardian demands, 

"What did you pick that grape for?" 

" Because it's first-rate." 

" What would you do if I took a stick and chased you ?" 

" Pick a bunch and run." 

Which he accordingly does. 



1 68 Games and Songs of American Children. 

'Eo. 116. 
Stealing Sticks. 

A company of players divide, each having the same number of sticks, 
which they deposit on each side of a line ; whoever crosses the line may 
seize a stick, but if caught is confined in a prison, marked out for the 
purpose. 

This is the game of " Scots and English," and may be classed among 
sports originating in border warfare. 



Ko. 117. 

Hunt the Squirrel. 

A ring of players is formed, about the outside of which circles a child 
who carries a knotted kandkerchief, with which he finally taps another on 
the shoulder, and starts to run round the ring. The child touched must 
pick up the handkerchief, and run in the opposite direction from the first. 
The two players, when they meet, must courtesy three times. The toucher 
endeavors to secure the other's place in the ring, failing which, he must 
begin again. As he goes about the circle, he recites the words : 

Hunt the squirrel through the wood, 

I lost him, I found hira ; 

I have a little dog at home, 

He won't bite you, 

He won't bite you, 

A^nd he will bite you, 

Camhridge, Mass. 
In Philadelphia, a corresponding rhyme begins : 

I carried water in my glove, 
I sent a letter to ray love. 

A variation from New York : 



Games of Chase. 



169 



^ 



Wi 



tis - ket, I 



r -p- r 

tas - ket, A green and yel - low bas - ket. 



=^= 



iN^ 


-N - 


^4v-- 


— IS— 


1- ._N jS_ _>^ -^ 


.. .. ^, _ 


^ ^ if^|:_iq ^. t 


= 


sent 


a 


let - 


ter 


to my love, And 

P^ ib 1 


on 

r — ' 


tlie way I 


dropp'd it. 




r 





-f- 




^— r-J 


I- 


r 


^r r 


— 



The name of the game in England is " Drop-glove." 

Another and apparently older way of playing "Hunt the Squirrel" is 
a game in which the child touched follows the toucher until he has caught 
him, pursuing him both in and out of the ring, being obliged to enter and 
leave the circle at the same point as the latter. 

A kissing-game, in which the player who makes the circuit taps an- 
other on the shoulder, and then takes flight, while the person touched is 
entitled to a kiss if he can capture the f ngitive before the latter has made 
the tour of the circle and gained the vacant place, is a favorite among 
the " Pennsylvania Dutch," under the name of "Hen-slauch" (Hand-slagjj 
that is, striking with the hand. The game is there called " Ring," and 
has inspired certain verses of Harbach, the nearest approach to a poet 
which that unimaginative race has produced.* 

In a similar game, formerly played in Massachusetts, the leader of the 
game touches one of the party on the shoulder, and asks, " Have you seen 
my sheep T The first replies, " How was it dressed ?" The toucher now 
describes the costume of some player, who, as soon as he recognizes the 
description of himself, must take flight, and endeavor to regain his place 
in safety, 

* See his " Schulhaus an dem Krik." 



1 70 Games and Songs of American Children. 



XII. 

CERTAIN 0AME8 OF VEBT LITTLE GIEL8. 

Dans mon coeur il n'y a pas d'amour, 
Mais il y en aura quelque jour. 

French Round. 

No. 118. 

Sail the Ship. 

Two little girls, clinching fingers, and bracing their feet against each 
other, whirl rapidly round, a movement which they call "Sailing the 
ship." 



Ko. 119. 
Three Around. 



Three little girls join hands and swing about, being the simplest form 
of m-otion without song, to which they give the name of " Three Around." 



Ko. 120. 

Iron Gates. 

Two little girls clasp hands tightly, singing, 

Iron gates, 
Never break, 

While a third throws herself against them, and endeavors to break 
through. 



Certain Games of Very Little Girls. 



171 



^0. 121. 

Charley Over the Water. 

Children sing, as they dance with clasped hands about one who stands 
in the centre of the rina: : 



ms^^^ 



P. 



Char - lie o - ver th.e wa - ter. 



I 
Char - lie 



o - ver the 



sea, 



^ 



Pea. 



f 



■?5" 



ff 



Char - lie catch a black - bird, Can't catch 



§i 



Fea. 



* 



Charley over the water, 

Charley over the sea, 
Charley catch a black-bird, 

Can't catch me/ 

At the last word all stoop, and if the child in the centre can catch any 
other before assuming that position, the latter must replace him. 

Almost any summer evening, in certain streets of New York, children 
may be seen playing this round, which they sing on one note, with a 
shriek to conclude. 



No. 122. 

Frog in the Sea. 

Frog in the sea, 
Can't catch me? 



Played like the preceding. 



Philadelphia. 



I "ji Games and Songs of American Children. 

^o. 123. 

D efi ance. 

A mother and children : 

" Mother, can I pick a rose ?" 

" Yes, my dearest daughter, if you don't tear your clothes, 

But remember, to-morrow is your sister's wedding-day." 

The children now retire to a safe distance, and sing : 

" I picked a rose. 

I tore ray clothes !" 

" Come home !" 

" I don't hear you." 

" I'll send your father after you." 

"I don't hear you." 

" I'll send your brother after you." 

" I don't hear you." 

" I'll send the dog after you." 

" I don't hear you." 

" ril send myself after you." 

"Sen' 'em along!" 

A chase follows, and the child caught must replace the mother. 

The dialogue (which belongs to Georgia) is also extended by the 
mother's threatening to send the cow^ or the trees, after the children. 

This game is differently played by little girls in Philadelphia, thus : 

" Oh, mother, mother, may I go out to play ?" 

" No, no, no, it's a very cold day." 

" Yes, yes, yes, it's a very warm day, 

So take three steps, and away, away, away." 

" Where's your manners ?" 

" I haven't any." 

The indignant mother now pursues the disobedient children. 



Certain Games of Very Little Girls, 



^n 



No. 124. 

My Lady's Wardrobe. 

The children sit in a ring, and are named according to the articles of 
a lady's wardrobe. The child in the centre of the circle of players names 
some article, as, " My lady wants her brush, brush, brush." She who has 
received that name must answer before the third utterance or pay forfeit. 
The speaker naturally pronounces the word as fast as possible. 



No. 125. 

Housekeeping. 

(a round.) 



^. 



i 



^ 



¥ 



^ 



iii 



Kit - tie put the ket - tie on, ket - tie on, ket - tie 



on. 



U to 1*- 




-=l- 



z^z=z^±z 



the 



ket 



tie 



on, We'll all 



have 

— -r— 



tea. 



?^ 



V V 

Kittie put the kettle on, 
Kettle on, kettle on, 
Kittie put the kettle on, 
We'll all have tea. 

To this familiar little round, girls five or six years of age, in New 
York, sometimes prefix a fragment of some ballad — 

Here stands a red rose in the ring — 
Promised to marry a long time ago. 



174 Games and Songs of American Children. 

]^o. 126. 

A March. 

March, march, two by two, 
Dressed in yellow, pink, and blue. 



JS^o. 127. 

Rhymes for Tickling. 

1. Tickle'e, tickle'e on the knee; 
if you laugh, you don't love me. 



Philadelphia. 



Philadelphia, 



2. If you're a little lady, as I take you for to be. 

You will neither laugh nor smile when I tickle your knee. 

Georgia. 

3. Old maid, old maid, you'll surely be. 

If you laugh or you smile while I tickle your knee. 

Massachusetts. 



Ball^ mid Similar Sports. 175 



XIII. 

BALL, AND SIMILAR SPORTS. 

I call, I call; who doe ye call? 

The maids to catch this cowslip ball ; 
But since these cowslips fading be, 

Troth, leave the flowers, and maids take me. 
Yet, if but neither you will doe, 

Speak but the word, and I'll take you. 

Herrick. 

No. 128. 
The " Times " of Sports. 

Ik an account of boys' sports, it would not be proper to omit some 
allusion to the custom of hav'ing a certain "time" of the year devoted to 
each amusement. These "times" succeeded each other almost as resu- 
larly as the flowers of summer, the children dropping one and taking up 
another every year at the same season. This succession, which the chil- 
dren themselves could hardly explain beforehand, but remembered when 
the occasion came, has impressed itself on observers as almost a matter of 
instinct. There was, however, a considerable degree of variation in the 
succession of sports in different parts of the country, and as the practice, 
though by no means obsolete, is now less strictly observed than formerlj^, 
we cannot give any very exact details on this head. It seems, however, 
that this succession was only partly dependent on the climate, and in part 
inherited from the mother country. 

Thus, in all the states from Maine to Georgia, the first "time" was 
ma7'Ue-ti?7ie. In New England, the snow had hardly disappeared, when 
boys began to make the necessar}^ holes in the ground, kneeling for that 
purpose on the night-frozen soil, from which the moisture was just oozing 
out, to the great detriment of their pantaloons. A friend, indeed, asserts 
that this was the object of the choice of seasons. But at the same time 



176 Games and So7tgs of Americaii Children. 

boys in Georgia (and, indeed, in England and Germany) were playing the 
same game. 

The subsequent succession of sports in ISTew York is indicated by the 
adage, " Top-time's gone, kite-time's come, and April Fool's day will soon 
be here." 

In Georgia the succession was, kites, tops, and hoops. In that region 
the season for popguns is when the China-heri'ies'^ ripen. It is a pro- 
vision of Providence, a clear case of design, thinks a friend, that just at 
that season the elder pith is ripe enough to be pushed out, and so leave 
the stalks empty to form the barrel of the M-eapon. 

Ball is especially a holiday game. In Boston, Fast -day (the iirst 
Thursday of April) was particularly devoted to this sport. In England, 
the j^laying of ball at Easter-tide seems to have been a custom of the 
festival, inherited probably from pre-Christian ages. Foot-ball was a regu- 
lar amusement on the afternoon of a I^ew England Thanksgiving. 

The invariable succession of children's sports has been also remarked 
in other countries. A Swiss writer says, " The principal games of bo_ys 
belong to the first third of the year, return alwaj's in a like order, and 
replace each other after an equal interval, as if it were in the natural 
course of events, and without the individual child being able to say who 
had given the sign and made the beginning." 

We may remark that another American usage has been remarked in 
other countries. In the last generation the boys of different towns, or of 
different quarters of the same town, waged regular and constant war. In 
Boston, for example, there was a well-defined line, beyond which no 
" JSTorth-ender" dared be seen. Any luckless lad obliged to go into the 
hostile district took good care to keep his eyes open, to dodge cautiously 
about the corners, and to be ready for instant flight in case of detection. 
So in France and Switzerland, where this warfare is a sort of game, a 
relic, no doubt, of the ancient separatism, which made every community 
in a measure an independent state. The chief weapons are stones, as 
they were formerly in the United States. In the old town of Marblehead 
boys were accustomed to "rock" any stranger, and no unknown driver 
dared to enter its limits with a. vehicle. 

* "Do you like best to stay at father's or grandma's ?" "There's the most berries at 
grandma's — I'll rather be there." Georgia Boy. 



Ball^ and Similar Sports, 177 

Ko. 129. 
Camjping the Ball. 

In the vocabulary of a Massachusetts schoolboy, to "camp" a foot-ball 
is to kick it, while held between the hands, from one side of the iield to 
the other. In England, country-folk speak of the "camp-game" of ball, 
of the "camping-ground." In this amusement there are lines which mark 
the rear limit of the respective sides, while the ball is placed in the 
middle, and the object of either party is to drive it, with foot or hand, 
over the enemy's line. Similar, in the United States, is the old-fashioned 
game of foot -ball, in which, to use the expression of the play -ground, 
two captains "choose up" sides, selecting alternately from those present, 
and first play is determined by lot. 

This description of football, or the English " camp-game," will answer 
very well for a translation of the account which Pollux, writing in Greek 
in the second century, gave of the "common ball," or "ball battle,"* of 
his day. Almost exactly the same was the ancient Norse game, except 
that the resemblance to warfare was closer ; the players were matched by 
age, and played against each other in the order of choice. The balls were 
heavy, sometimes made of horn, so thafwe read of men killed and wounded 
in the encounter. In like manner, up to a very recent time, in Lower 
Germany, villages contended against each other, hurling wooden balls 
loaded with lead, man against man. Thus the game was really "kemp- 
ing" {Kemp, a warrior, champion), and the field a kemping-ground. 

It was natural that, while the men contended, the boys also should 
have their mimic sports, in all respects similar ; and we read in a Saga 
how the seven-year-old Egil slew with an axe his antagonist Grim, who 
had very properly knocked him down for breaking a bat over Grini's head. 
In those days such feats were held to presage an honorable career. 

The Persians and Turks still practise a different sort of game, whicli 
is played on horseback, the riders using a racket to strike with. Five or 
six horsemen circle about, and strike the ball at each other; if it drops on 
the ground, a slave picks it up. The ball is heavy, covered with hard 
leather, and capable of doing serious harm. This game is, in fact, an imi- 
tation of warfare, a modification of casting the " jered," or javelin. The 

* Sphaeromacliia. 
12 



I yS Games and Songs of American Children. 

"Arabian Nights" recite how, while the Caliph Haroun Al-Raschid was 
playing, a spy aimed a ball at him from behind, with the intent of assas- 
sination. 

The Byzantine court adopted from the East the playing on horseback 
and the racket, but introduced these into a game resembling the ancient 
"ball -battle." The historian Cinnamus describes the Emperor Manuel, 
in the twelfth century, as fond of this species of polo. 

From Eastern custom we get our tennis, while most of our games 
with bat and ball seem to have come down to us from the ancient 
North. 

The history of the change from actual to imitative warfare, from the 
latter to a harmless and courtlj'- amusement or to a rustic pastime, from 
this last again in our own days to a scientific sport, may supply material 
for serious reflection. 



No. 130. 
Hand-'ball. 



No doubt our Saxon ancestors had, besides the half-military exercise 
referred to, other sports with the ball, better adapted to girls and chil- 
dren, though, no description of such has come down to us. We know, 
however, that the Koman games with the ball were essentially the same as 
our own. Girls still strike, as then, balls with the palm of the hand to 
keep up their bouncing, or fling them against the wall to drive them back on 
the return, or pass the ball from hand to hand in the ring or row. Boys in 
those days, standing on the corners of a triangle, sent back the ball on the 
fly or the bounce, giving with one hand and taking with the other, much 
as they do to-day. The ball itself was very much the same in the time of 
the early empire as now, soft or hard, plain or covered with painted or 
embroidered cloth, a large hollow balloon, or a small light sphere. Chil- 
dren's balls were made with a rattle inside, and divided into gaudy divis- 
ions like the lobes of an orange, then as at present. 

The oldest mention of a girls' game of ball is in the " Odyssey." It 
is a grand washing-day in the palace of Alcinous, and Nausicaa, daughter 
of the house, is to preside over the operation. So the "shining" but 
soiled raiment is brought out of a storeroom, loaded on a mule-wagon, with 
food, wine, and dainties, not forgetting a flask of oil for use after the 



BalL and Similar Sports. 1 79 

bath. When the clothes liave been scoured in pits along the river-side, 
and spread out to dry on the rocks by the shore, the maidens bathe, anoint 
themselves, and lunch. Afterwards the ball is brought out ; the game is 
accompanied with song, in which the princess leads, and far excels the 
rest. The party is on the point of returning, the mules have been har- 
nessed, and the clothes folded, when ]^ausicaa has a fancy for a romp; 
she throws the ball at one of her damsels, but misses her aim, and the ball 
falls into the eddying river, while the maidens shriek out loudly. 

Misson (about 1700) mentions " the throwing at one another of tennis- 
balls by girls" in England, as a practice of a particular season of the year. 

The German poets of the Middle Ages abound in allusions to the game, 
which IS described with the same fresh poetical feeling that inspires the 
whole period. It was the first sport of summer. "When I saw the girls 
on the street throwing the ball, then came to our ears the song of the 
birds,'' says Walter von der Vogelweide. A common way of playing 
was for youths and maids to contend for the ball, which the possessor 
then threw to the one he or she " loved the best." A minnesinger pleas- 
antly depicts the eager girls calling to some skilful and favorite lad, as he 
is about to throw, holding out their hands, 

" Thou art mine, cousin — throw it here, this way !" 



No. 131. 
Stool- B all. 



William Bradford, the second Governor of Massachusetts, records, un- 
der date of the second Christmas-day of the colony : " The day called 
Christmas-Day, y^ Gov.' caled them out to worke (as was used), but y« 
most of this new company excused themselves, and said it wente against 
their consciences to work on y* day. So y^ Gov.'' tould them that if 
they made it mater of conscience, he M'ould spare them till thej^ were 
better informed. So he led away y« rest, and left them ; but when they 
came home at noone from their worke, he found them in y® streete at 
play openly, some pitching y^ bar, and some at stoole-ball and such like 
sports. So he went to them, and took away their implements, and tould 
them that it was against his conscience, that they should play and others 
work. If they would make y^ keeping of it mater of devotion, let them 



i8o Games and Songs of American Children. 

keep their houses, but there should be no garaeing or revelling in y^ 
streets. Since which time nothing hath been attempted that way, at least 
openly." 

Stool-ball was so named from the setting-up of a stool to be bowled at. 
The ball was struck with the hand by the player at the stool. If tlie ball 
struck the stool, the players changed places. In another form of the 
game, which seems to be that referred to here, there were several stools, 
men at each, and a bowler outside. When the ball was hit (with the 
hand) the players must change places, and the bowler was at liberty to 
hit with the ball any player while between the stools, and so put him out. 

Bradford, as a Puritan, had perhaps some reason for his aversion to 
hand-ball on holidays, seeing that it appears to be connected with ancient 
religions usage. " Stool-ball" was especially an Easter-game, played by 
ladies for small stakes, particularly a tansy or Easter-cake ;* thus we have 
the name in a pretty rhyme of the seventeenth century — 

At stool-ball, Lucia, let us play, 

For sugar, cakes, or wine; 

Or for a tansey let us pay, 

The loss be mine or thine. 

If thou, my dear, a winner be, 

At trundling of the ball, 

The wager thou shalt have, and me. 

And my misfortunes all. 

According to a curious extract from a manuscript given by Ducange, 
of the diocese of Auxerre, it was an ancient custom to plaj^ in the church, 
on Easter Monday, a solemn game of ball, while singing anthems proper 
to the season. 

" The ball having been received. from a proselyte, the dean, or another 
in his stead, he and the rest wearing the almutia^ sang the antiphonal 
which begins, " Yictimce Paschali laudesf then seizing the ball with his 
left hand, he led the dance, the others, taking hold of hands, variously in- 
flecting the chorus, while the ball was delivered or thrown by the dean to 
one or more of the choristers alternately, so as to weave a garland, as it 
were. The game and motions were conducted according to the numbers 
of the prose. The dancing having been finished, the chorus after the 
dance hastened to the banquet." 

* Made, according to Johnson, with the leaves of newly sprung herbs. 



Ball, and Similar Sports. i8i 

This dance was not merely a local cnstom, but practised in other towns. 
At Yienne it was conducted by the archbishop in his palace. 

No donbt we have here a survival of the ancient games of the spring 
festival, in a day when mirth and the exhibition of physical prowess were 
considered acceptable to deity, and elevated into religious exercises. 



No. 132. 
Call- Ball. 



This game (commonly called Callie-ball, or Ballie-callie), was formerly 
a common sport of school-boys in New England. The ball was thrown 
against a house, and at the same time a name called. The lad named 
must strike back the ball on its rebound. 

We are not well informed as to the sequence, but the game in Austria, 
where it is well known, goes on as follows : If the player, whose name is 
called, drops the ball, he must pick it up as quickly as possible, while the 
rest scatter. He then calls " Stand !" upon which the players halt, and he 
flings it at whom he pleases. If he misses his aim, he must place himself 
in a bent position with his hands against a wall, until every player has 
taken a shot at him. 

The delightful lines of Herrick, cited as the motto of the present 
chapter, show us youths and maids playing at "call-ball ;" but the game 
here appears to consist simply in calling out the name of the person of 
the opposite sex who is to catch the ball, as in the mediaeval sport referred 
to in No. 130. 



No. 133. 



Haley-Over. 

The players are divided into equal parties, who take position on differ- 
ent sides of a building, out of sight of each other. A lad then throws the 
ball over the roof of the house, to any height or in any direction he pleases. 
It is the object of the opposite side to catch the ball on its descent ; and if 
any player succeed in doing so, he immediately darts round the corner, 
and attempts to hit with the ball some player of the other side, who scatter 
in all directions. To this end, he may either throw the ball from a dis- 



1 82 Gaines and Songs of Americaii Children. 

tance, or chase any antagonist till he has come up with him, and has an 
easier mark. If he succeed in hitting a boy, the latter must follow the 
former back to his own side, to wliicli he henceforward belongs. The 
game is continued until all players have been brought over to one side. 
The party from which the ball has been thrown have no means of know- 
ing w'hether it has been caught or not, until its return, and must be pre- 
pared to see an adversary suddenly appear, ball in hand, and ready to 
throw. Hence the excitement of the game, which belongs to Connecticut. 



:N'o. 134. 
School-Ball. 



In this amusement of New England school-girls, the ball is tossed by 
the teacher to the head of the class, and, after being returned by the latter, 
sent to the next of the row, and so on. If any girl misses, she must go to 
the foot, and if the teacher misses, \\\q first scholar takes her place. 



No. 135. 
W i c h e t. 



This exercise is an old-fashioned game resembling cricket. A peculiar, 
long, shovel-shaped bat is used, flat, straight on one side and spoon-shaped 
on the other. The ball is bowled at the wicket, which is defended by the 
player. When the ball is struck, a run must be made to the base of the 
bowler, and return. 



No. 136. 

Ho chey. 

This sport is also called Shinny. Tlie ball is struck on the ground 
with a bent stick, the object being to drive it over the enemy's line. 
The game is much played on the ice, as has been the case from the oldest 
times in the North ; for this is doubtless a descendant of the games with 
bat and ball described in Icelandic Sagas. The name of " Bat and Ball," 



Ball, and Similar Sports. 183 

also given to this sport, indicates tliat in many districts this was the usnal 
way of playing ball with the bat. 



ITo. 137. 
Roll-Ball. 



A row of holes large enough to contain the ball is made, one for each 
boy. The player to whom is allotted the last hole takes the ball, stands 
off, and rolls it in such a way as to stop in one of the holes. The boy into 
whose place the ball has rolled seizes it, while the rest scatter, and throws 
it at some one of the group; if he succeeds in hitting him, a stone is 
placed in the hole of that boy ; if not, the thrower must put a stone in 
his own. The rolling of the ball is then repeated. When five stones 
(called hahies^) are lodged in any hole, that boy is out of the game. 

This Kew England game is exactly paralleled in Switzerland and 
Austria. 



No. 138. 
Hat-Ball. 



This is the same game as the preceding, played (among the Pennsyl- 
vania Germans) with hats instead of holes. The ball is tossed into the hat 
of the player who is to begin. The first to get five stones in his hat loses, 
and must undergo the punishment of being " paddled," passing under the 
legs of the row of players for that purpose. 



No. 139. 
Corner-Ball. 



This is also an old game kept up by the Pennsylvania Germans — 
Pennsylvania Dutch, f as they are commonly called. Four players stand 
on the four angles of a square, and the four adversaries in the centre. 

* The identical name in Austria, "Kinder." 

t They are descendants of emigrants from the Upper Rhine, and speak a dialect re- 
sembling that of the Palatinate, but mixed with English words. 



184 Games and Songs of American Children. 

The ball is passed from one to another of the players in the corners, and 
finally thrown at the central players. For this purpose the following 
rhyme (which our readers may translate if they can) is used by the boy 
who aims the ball at the players in the centre. These last, if they can 
catch the ball, may fling it back. 

Bola we Sols, 

Butar we Schmols, 

Pef'r gat uf, 

War fongt schraeist druf. 

If the player in the corner hits a central player, the latter is out, and 
moe versa. 

The last player of the losing party has to stand with his head against 
a wall till every antagonist has flung the ball at him. 



No. 140. 
Base-hall. 



It is only w^ithin a few years that Base -ball has become the "na- 
tional sport" of America. The present scientific game, which we natu- 
rally do not intend to describe, was known in Massachusetts, twenty years 
ago, as the "New York game." A ruder form of Base -ball has been 
played in some Massachusetts towns for a century"; while in other parts 
of New England no game with the ball was formerly known except 
" Hockey." Tliere was great local variety in these sports. 

We may refer to some features of the old-fashioned game which pos- 
sess interest. The first duty, in games with the bat, is " to choose up." 
The two best players, or any two selected, toss the bat from one to an- 
other ; the tosser places his right hand above the hand of the catcher, 
who in turn follows with his own left, and so on.* He who can get tlie 
last hold has first choice; but the hold must be proved by ability to Avhirl 
the bat three times round the head, and throw it. Another test of a suf- 

* The like method in Austria, where the general idea of the game, and many particu- 
lars, are the same. There are, however, only two bases. The same way, even to the ability 
to throw the bat with two fingers, which is the test of a doubtful hold, is used in Switzer- 
land to determine choice of sides in the game answering to No. 139. These coincidences 
seem to point to a remote antiquity of usage. 



Ball, and Similar Sports. 185 

ficient grasp is for a player to hammer with a second bat on the hand 
which is uppermost. In this last case, therefore, the grasp must be low 
enough for the wood of the bat to be struck by the blow. 

In this game there were three " bases " besides the " home " base, at 
about the same distance as at present ; but the number of players waa 
indeterminate. The pitcher threw the ball, and the catcher stood close 
behind the striker. When the batsman struck the ball, a run must be 
made ; and the ball was not, as at present, thrown to the base, but at the 
runner, usually with all the force possible. If he was hit, he was out ; 
and each member of the side had to be put out separately. There were, 
moreover, ways in which a side could recover its lost players. When all 
were out but one, who was on one of the bases, the pitcher and catcher, 
approaching to within some thirty feet, tossed the ball to and fro, and the 
runner must "steal" his next base, while the two former watched his 
movements, ready to throw to the nearest fielder of their side, who in turn 
would hurl the ball at the remaining player. If under these circumstances 
he could reach home untouched, he might " put in " any player of his 
side. 

As there was never any umpire in these games, the field for contro- 
versy was unlimited. One way, as we recollect, of settling disputes was 
as follows : All proceeding to the spot of the doubtful catch, the best 
player on one side hurled the ball with all his force upwards ; if it was 
caught by the designated player of the other party, the point was given 
in the latter's favor, and vice versa. 

We need only mention the game of "Old Cat," in which there are 
two goals — the striker's and the pitcher's — and the run is made from the 
former to the latter and return. The game is then named from the num- 
ber of batters, " One Old Cat," or " Two Old Cat." 



No. 141. 
Marhles. 



We do not intend to describe the various games of marbles, which 
might probably fill a small volume. Of these there are two principal 
types. One consists in striking the marbles out of a ring, by shooting 
from a line, or taWy drawn as a limit ; the other, in making the tour of 



1 86 Games and Songs of American Children. 

a series of boles made for tlie purpose. Whoever first gets back to the 
starting-point, or taw, wins. 

Tbe first of these games may be descended from a sport of Eoman 
children, mentioned by Ovid, and still in existence, in which nuts are 
rolled down an inclined plane, with the object of striking the nut of the 
adversary. The second seems to be the childish reduction of a game with 
the ball, similar to " Golf." 

Extensive is the lore of marbles. When a lad wishes to change his 
position, so tliat, while preserving the same distance from his mark, he 
may have a more favorable position, he exclaims, "Eoundings." If, how- 
ever, his antagonist is quick enough, he will cry "Fen [defend] roundings." 
The game, when played to win the marbles of the opponent, is said to be 
" in earnest." If any accident happens, and the opponent's play is to be 
checked, a Georgia lad will say "King's excuse." That this is an ancient 
phrase is shown by the corruption of the same cry in Pennsylvania, 
"King's scruse." Under certain circumstances a boy who puts down a 
second marble is said to "dub" (double) a marble, or to play "dubs."* 



E'o. 142. 
Cat. 



The "cat" is a little billet of wood, about four inches long, and point- 
ed at the ends, which is to be struck with a light stick. A player stands 
at a little distance, and endeavors to throw this missile into a hole or circle 
previously made. Another stands over the circle, and defends it with his 
stick. If the cat falls in the circle, the batter is out. If, on the other 
hand, it falls out of the circle, he has the right of making a stroke. 
Placing the cat within the circle, he hits it on one end with his bat ; 
and, as it bounds upwards, endeavors to strike it as far away as possi- 
ble. If the cat is caught, he is out ; otherwise, he is entitled to score 
a number, proportioned to the distance which the cat has been struck, 
estimated in jumps or foot-lengths. This score, however, is subject to a 
peculiar negotiation. The pitcher offers the batter a certain number of 

* "Fen burnings !" "Roundings !" "Dubs !" "Knuckle down tight where you lay !" 
"Burnings" signifies breathing on a marble, and thereby getting certain advantages. 
The lads whom we quote never used the word marbles, but mihs. "Let's play mibs." 



Ball^ and Similar Sports. 187 

points — as, for example, five. If this is not accepted, he raises his bid to 
eight, ten, or as high as he thinks proper; but if his final offer is refused, 
the pitcher measures the distance (in jumps or lengths of the foot), and if 
he can accomplish it in a less number than that offered, the striker or his 
side lose that number of points ; otherwise, the number measured is scored. 
The game is an agreed number of hundreds. This game is now played 
in Hindostan, as well as in Italy and Germany. 



No. 143. 
Cherry-pits. 

Cherry -pits are referred to as used in boys' games as early as a.d. 
1522, and are still so used in the streets of Kew York. 

The pits are thrown over the palm by the boy whose turn it is to 
play; they must fall so far apart that the finger can be passed between 
them. Then the player with a fillip of the thumb makes his pit strike 
the enemy's, and wins both. If he misses, the next takes his place. 

This game, like the rest, has its regular season, at which all the boys 
in the neighborhood may be seen playing it.* 



No. 144. 
Buttons. 



Buttons are in extensive use in the sports of German children, with 
whom they form a sort of coinage, each sort having a stipulated exchange- 
able value. Traces of similar usage exist in the United States. 

A common New York game consists in throwing buttons. A line is 
drawn, and a hole made about twelve feet off. The players toss their 
buttons, and whoever comes nearest the hole has the first shot. He en- 
deavors to drive the buttons of the rest into the hole, striking them with 
the extended thumb by a movement of the whole hand, which is kept 
flat and stiff. When he misses the next takes his turn, and so on. "Who- 
ever drives the adversary's button into the hole wins it. 

* "Cherry-pits are in now ; buttons won't be in for a fortnight." — Neio York boy. 



1 88 Games and Songs of American Children. 

Another game, for two players, is called " Spans." The buttons are 
cast against the wall, and if a player's button falls w^ithin a span of the 
adversary's, he may aim at it and win it by striking as before. 



Ko. 145. 

Hop-Scotch. 

A figure of about twelve feet in length, similar to that represented in 
the diagram, is described on the ground, and selection made of a small flat 
stone, having sharp edges. From a line drawn at a 
distance of a few paces, a stone is tossed into ITo. 1, 
after which the boy or girl hops on one foot into No. 1, 
and kicks out the stone, which is then thrown into 
ISTo, 2. The player now hops into No. 1, and jumps 
into No. 2, in such a way that one foot is in the division 
2, and one foot in 1. The stone is kicked into 1, and 
then out, and so on. In passing through divisions 1 
and 2, 4 and 5, 8 and 9, a straddle must be made, one 
foot being placed in each ; in the others a hop only 
must be taken. A failure to throw the stone into the 
right place, or to kick it into, the right "division, or 
leaving it on any line, or touching the raised foot, or 
stepping on a line, puts out, and the next takes his or 
her turn. 

In other localities, no straddling step is taken, but 
the player, in certain divisions, is allowed to place the stone on his foot, 
and so expel it from the figure at a single kick; the compartments also 
vary in number and arrangement. 

This is one of the universal games, common from England to Ilindo- 
stan. Everywhere the game consists in describing on the soil an oblong 
figure with several divisions, and in tossing a flat stone or potsherd, into 
them, and then kicking it out with a hopping motion ; the arrangement 
of the divisions differs. From the shape of the last compartment, the 
game is called in Italy " The Bell," and in Austria " The Temple." In 
Italy the three last divisions are the Inferno^ Purgatorio, and Paradiso. 
In New York the last is called Pot. 




o 



Ball^ and Similar Sports. 189 

E"o. 146. 

Duck on a Rook. 

We will suppose a party of boys to be debating what game to play. 
"What shall we play?" "Duck on a Rock," suggests one. The idea is 
instantly taken up. " My one duck," cries some boy. " My duck," shouts 
a second, seizing a stone. The last to "speak" gets no duck, and has to 
guard the " drake." The drake is a good-sized stone, which is placed on 
an elevated position, or boulder, if such be at hand. The "ducks" are 
stones about the size of the fist. The object is to knock the drake off the 
rock. After each player has thrown his duck, and missed, he must recover 
it. The guardian stands by the "rock," but cannot tag a player until the 
latter has touched his own duck, when he must replace the keeper. Mean- 
while, if the drake is knocked off the rock, the keeper must replace it 
before he can tag any one, and this is therefore the signal for a rush to 
recover the thrown ducks. The game is not without a spice of danger 
from these missiles. 



ISTo. 147. 

Murnhlety-j^eg. 

In this game of boys and girls, a knife is cast to the earth, on a piece 
of turf, with the point downwards, and must remain sticking there ; there 
are several successive positions of throwing, as follows: (1) the knife is 
held in the palm, first of the right and afterwards of the left hand, point 
outward, and thrown so as to revolve towards the player; (2) it is rested 
successively on the right and left fist, with the point uppermost, and 
thrown sideways ; (3) the knife is pressed with the point resting on each 
finger and tliumb of both hands in succession, and cast outwards; after 
this it is held by the point, 2^\^ flipped (4) from the breast, nose, and each 
eye ; (5) from each ear, crossing arms, and taking hold of the opposite ear 
with the free hand ; (6) over the head backwards. If the knife does not 
" stick," the next player takes his turn ; the first to conclude the series 
wins. The winner is allowed to drive a peg into the ground with three 
blows of the knife, which the other must extract with his teeth, whence 
the name, "Mumblety-peg." Another title is "Stick-knife." 



190 Games and Songs of American Children. 



No. 148. 
Five-stones. 

Such was the title of the common game in a New England town (Sa- 
lem, Mass.).* The same amusement, under the same name, was popular 
in Greece more than two thousand years ago, being mentioned as a girls' 
game by Aristophanes. It is thus described by Pollux: "The game of 
' five-stones ;' little stones, pebbles, or bones are thrown up, so as to catch 
them on the back of the turned hand, or if not all are caught, the rest 
must be picked up with the fingers, Avhile the others remain on the 
hand." 

A pleasing painting in the Museum of Naples represents goddesses 
playing at " Five-stones." Aglae is looking on ; three of her bones lie on 
the ground, one is pressed by her thumb, the fifth is hidden by her gar- 
ments. Hileaera has just thrown ; she has caught three, the other two 
are falling to the ground. Niobe, Latona, and Phoebe are standing behind. 

One of the movements of the Spanish game is still exactly the same 
as that described by the Greek writers of the second century. The game 
in America, as played in the childhood of the writer, also began with 
catching the stones on the back of the hand, at first one only out of the 
five tossed up, then two, three, four, and, finally, the whole five. 

The game now consists of an indefinite number of figures, of which 
the names and arrangements vary in different localities. In all those de- 
scribed below, a single stone is tossed up, to be caught in the palm, and 
while this is in the air the others must be taken into the hand, or certain 
motions made. 

Ones., twos., threes^ fours. — The stones are rolled on the table or floor, 
either directly from the right hand, or over the back of the left hand rest- 
ing on the table. A single stone being selected and tossed in the air, as 
above mentioned, the rest must be picked up; in the first figure one at a 
time, in the second by groups of two, in the third by three and one, and 
finally the whole four together. In case of an error, the next takes his 
turn. 

* Communicated by the late Mr. George Nichols, of Cambridge, Mass., formerly of Sa- 
lem. The common name, Jack-stones, seems to be a corruption for Chuck-stones, small stones 
which can be chucked or thrown. " Chuckie-stanes," in Scotland, means small pebblea 
" Checkstones, small pebbles with which children play." — Dialect of Craven. 



Ball^ and Similar Sports. 191 

Jumping the Ditch. — The four stones remaining, after one has been 
chosen, are placed in a line ; the first and third of the row are then to 
be caught up together, and afterwards the second and fourth. 

Knock at the Door, Strike the Match, Wash the Clothes, etc. — A 
selected stone being thrown up, motions corresponding to the title are 
to be made on the floor while it is in the air. 

Set the Tahle. — Foui- stones are placed in a heap, as if to represent a 
pile of plates. One of these is taken from the heap, in the usual manner. 
It is then held between the thumb and palm of the right hand, and, with 
a second toss of the chosen stone, is deposited on the floor at the corner of 
an imaginary square. The square having been completed by four stones, 
motions are made to indicate the arrangement of tlie glasses, etc. Clea.r 
the Table is the reverse movement, in which the stones are again brought 
to the centre. 

The Well. — The left hand is laid on the table with the thumb and in- 
dex finger joined. Into the opening so formed the four stones are pushed, 
by a fillip of the finger. The hand is then removed from the table, and 
the stones must be caught up together as they lie. The figures vary, ac- 
cording as the thumb and index are made to form an arch or circle, are 
laid on tlie table or floor horizontally, or in an upright position, or, finally, 
as the hand is raised above the table in the form of a cup. These varieties 
receive the names of Peas in the Pod, Doves in the Cot, etc. 

Horses in the Stall. — The left hand is laid on the table with the fingers 
extended, and four stones placed in front of the openings, representing 
stalls. A stone being thrown up as usual, thefour others are filliped into 
the openings, and afterwards must be picked up together from the positions 
in which they lie. In Horses out of the Stall the stones are brought out 
from between the fingers, and then caught up. 

Other movements are Feeding the Elephant, Spinning the Wheel, Go- 
ing up the Ladder, etc., to tlie number of thirty or more. Failing to catch 
the stone thrown up, or not succeeding in the required motion, or touch- 
ing a stone unnecessarily, constitute errors, in which case it is often re- 
quired to go back to the very beginning of the game. 

Instead of pebbles, little double tripods of iron, probably representing 
the more ancient hones, are generally in use ; and the fifth stone, or "jack," 
is often replaced by a ball or marble, the latter being allowed to bound 
before it is caught. This usage seems to be of German origin. Some- 
times marbles are used, the "jack" being of a different color from the rest, 



192 Games and Songs of American Children. 

and school-girls take pride in the beauty of the agates they employ for 
this purpose. 

About Boston a similar game is much played under the name of " Ota- 
dama," or " Japanese jacks." Seven little silk bags are filled with rice, one, 
of a different color from the rest, being called the " jack." The game con- 
sists of four parts. In the first figure, the silk bags being placed on the 
fioor, the " jack " is thrown up, and the other six picked up one by one, being 
so deposited as to keep them together in groups of twos, so that two at a 
time may be caught up, which is the next thing to be done. Then come 
groups of three, four and two, and five and one, next the six together, the 
bags, after being caught, being so dropped as to prepare for the following 
movements. The next motion is " tattoo," which consists in throwing 
up the "jack" and catching it on the back of the hand, then throwing it up 
again from the back of the hand and catching it in the fingers, without 
turning over the palm. 

The second figure contains "second ones," "second twos," "second 
threes," "second fours," "second fives," "second sixes." These are the 
same as in the first figure, except that in each case the bags caught, in- 
stead of being merely dropped from the hand, as before, are tossed up 
together with the " jack," which last must be caught again before fall- 
ing. In the second and third figures "tattoo" follows every move- 
ment. 

The third figure begins with " third sixes," in which, the six bags 
being caught up and held tightly, the "jack" is again tossed, the six 
slapped on the floor, and the "jack" caught on the back of the hand. 
The second motion is "fourth sixes," which resembles second sixes, except 
that the "jack" is now caught on the back of the hand. Kext comes 
"touch." The six bags are caught up, thrown with the "jack" into the 
air, and the floor is touched with the middle finger, before catching the 
"jack." After this follows "fours and threes," in which, the six bags 
having been caught up, the palm is turned uppermost with the seven bags 
(including the "jack"), and it is required to throw off first four at a time, 
and afterwards the other three. "Pack up" is the next motion. The 
six bags are caught up, compactly arranged in the palm of the hand, 
and must be thrown up and caught on the back of the hand. Two 
chances are allowed. The bags dropped the first time may be tried by 
themselves. Then " third ones," which is the same as " second ones," ex- 
cept that, the bags being placed in a row with the "jack" at the left, the 



Ball, and Similar Sports. 193 

"jack" is constantly exchanged for each bag that is caught up. " Tattoo" 
follows each of these movements. 

The fourth and last figure is done with the left hand. The palm is 
turned towards the floor, upon which all the bags lie in a row, the "jack" 
at the right; a bag is then picked up by the thumb and forefinger, keep- 
ing the other fingers extended, and is tossed on the back of the hand. It 
must remain there while the second bag is picked up, and is tossed off 
the hand when the second is tossed on. This motion is repeated with 
the other five, ending with the "jack," and the game is finished with 
" tattoo." 

The game is played by two or more. In case of an error, the next 
plays ; but an error in the last figure requires the player to go back to the 
beginning of the game. The " jack " is often made square and somewhat 
flat, while the other bags are drawn up at two ends, and have a rounder 
shape. It is necessary that they should be soft and flexible. 

This game is of Japanese origin, " Tedama"* — that is, " Hand-balls" — 
being its proper name. As the specimen given shows, it closely resembles 
the ancient game of " Five-stones." We are informed, on Japanese an- 
thority, that stones are habitually used by boys in playing, and that the 
number of these varies. There can be no doubt that the two forms of 
this amusement are branches of the same root ; and we thus have an 
example of a game M'hich, having preserved its essential characteristics 
for thousands of years, has fairly circumnavigated the globe, so that the 
two currents of tradition, westward and eastward, from Europe and Asia, 
have met in America. 

* 0-tedama (pronounce as in Italian) is, we learn, compounded of 0, the, te, hand, and 
tama, balls. It is played with song, which consists in chanting the titles of the several 
movements ; thus, in the first figure, (1) O Hito, (2) O Fu, (3) O Mi, (4) O Yo, (5) O Itzu, 
(6) O Mu. The second figure, in which begins Tonkiri ("tattoo "), is called Zakara (a mean- 
ingless word) ; and the chant is, (1) O Hito Zakara, (2) O Fu Zakara, (3) O Mi Zakara, etc. 
These numbers are children's numeration, of which there are two sorts ; the present series 
continues, (7) Nana, (8) Ya, (9) Kono, (10) To. We have varying forms from a friend in 
Hartford, Conn., where the song has been borrowed from Japanese students. Probably 
provincial usages in Japan differ. We give the above terms (not the game, which is current 
in the United States), as written by a Japanese gentleman. It is noteworthy that this 
childish system has no connection with the regular table. 

13 



194 Games and Songs of American Children, 



XIV. 

BHTME8 FOB COUNTING OUT. 

Petite fille de Paris, 
Prete-tnoi tes souliers gris, 
Pour aller en Paradis. 
Nous irons un a un, 
Dans le chemin des Saints; 

Deux a deux, 
Sur le chemin des cieux. 

French Counting Rhyme. 

m. 149. 

Counting Rhymes. 

There are various ways in which children decide who shall begin in a 
game, or, as the phrase is, be "it."* When this position is an advantage, 
it is often determined by the simple process of "speaking first." So 
far as can be determined when all are shouting at once, the first speaker 
is then entitled to the best place. Otherwise it is the practice to draw 
straws, the shortest gaining ; to " toss up " a coin, " heads or tails ;" or 
to choose between the two hands, one of which holds a pebble. 

The most interesting way of decision, however, is by employing the 
rhymes for " counting out." A child tells off with his finger one word of 
the rhyme for each of the group, and he on whom the last word falls is 
'" out."f This process of exclusion is continued until one only is left, 
who has the usually unpleasant duty of leading in the sport. All Euro- 
pean nations possess such rhymes, and apply them in a like manner. 
These have the common peculiarity of having very little sense, being 

* The French expression is the same, Vetre or en etre. The Germans do not use an 
equivalent, but say to be in, to be out ; sein daran, sein daraus. 

f An old way of arranging this is for each of the group to put a finger inside a hat, in 
order that the words may be told off on the fingers. 



Rhymes for Counting Out. 1 95 

often mere jargons of unmeaning sounds. This does not prevent them 
from being very ancient. People of advanced years often wonder to find 
their grandchildren nsing the same formulas, without the change of a 
word. The identity between American and English usage establislies the 
currency of some such for three centuries, since they must have been in 
common use at the time of the settlement of this country. We may be 
tolerably sure that Shakespeare and Sidney directed their childish sports 
by the very same rhymes which are still employed for the purpose. 
Furthermore, German and other languages, while they rarely exhibit the 
identical phrases, present us with types which resemble our own, and ob- 
viously have a common origin. Such a relation implies a very great an- 
tiquity ; and it becomes a matter of no little curiosity to determine the 
origin of a practice which must have been consecrated by the childish 
usage of all the great names of modern history. 

This origin is by no means clear; but we may make remarks which 
will at least clear away misconceptions. We begin with that class of for- 
mulas which we have marked from 1 to 13 inclusive. 

Eespecting these rhymes, we observe, in the first place, that they are 
meaningless. We might suppose that they were originally otherwise ; 
for example, we might presume that the first of the formulas given below 
had once been an imitation or parody of some list of saints, or of some 
charm or prayer. A wider view, however, shows that the rhymes are in 
fact a mere jargon of sound, and that such significance, where it appears 
to exist, has been interpreted into the lines. We observe further, that, in 
despite of the antiquity of some of these formulas, their liability to va- 
riation is so great that phrases totally different in sound and apparent sense 
may at any time be developed out of them. 

These variations are effected chiefly in two ways — rhyme and allitera- 
tion. A change in the termination of a sound has often involved the in- 
troduction of a whole line to correspond ; and in this manner a fragment 
of nursery song may be inserted which totally alters the character of 
the verse. Again, the desire for a quaint alliterative effect lias similarly 
changed the initial letters of the words of the formulas, according as the 
whim of the moment suggested. 

From the fact that neither rhyme nor alliteration is any guide to the 
relations of these formulas, but seem arbitrarily introduced, we might con- 
clude that the original type had neither one nor the other of these charac- 
teristics. This view is confirmed by European forms in which they appear 



196 Games and Songs of American Children. 

as mere lists of unconnected words, possessing some equality of tone. 
Rhythm is a more permanent quality in them than termination or initial. 
From these considerations it appears likely that the original form of the 
rhymes of which we speak was that of a comparatively brief list of dis- 
syllabic or trisyllabic words. 

Now, when we observe that the first word of all the rhymes of this 
class is obviously a form of the number one • that the second word appears 
to be two^ or a euphonic modification of two^ and that numbers are perpet- 
ually introducing themselves into the series, it is natural to suppose that 
these formulas may have arisen from simple numeration. 

This supposition is made more probable by a related and very curious 
system of counting up to twenty (of which examples will be found below), 
first brought into notice by Mr. Alexander J. Ellis, vice-president of the 
Philological Society of Great Britain, and called by him the "Anglo-Cym- 
ric Score." Dr. J. Hammond Trumbull, of Hartford, Conn., noticing the 
correspondence of Mr. Ellis's score with numerals attributed to a tribe of 
Indians in Maine (the Wawenocs), was led to make inquiries, which have 
resulted in showing that the method of counting in question was really 
employed by Indians in dealing with the colonists, having been remem- 
bered in Rhode Island, Connecticut, Massachusetts, New Hampshire, and 
Ohio (where it passed for genuine Indian numeration), and in this way 
handed down to the present generation as a curiosity. Mr. Ellis has found 
this score to be still in use in parts of England — principally in Cumberland, 
Westmoreland, and Yorkshire, where it is employed by shepherds to count 
their sheep, by old women to enumerate the stitches of their knitting, by 
boys and girls for " counting out," or by nurses to amuse children. It is, 
therefore, apparent that this singular method of numeration must have 
been tolerably familiar in the mother-country in the seventeenth century, 
since the Indians evidently learned it from the early settlers of New Eng- 
land. It appears, indeed, that not only the score itself, but also its chief 
variations, must have been established at that time. Mr. Ellis, however, 
who has shown that the basis of these formulas is Welsh, is disposed " to 
regard them as a comparatively recent importation" into England. Be 
that as it may, we see that the elements of change we have described, 
alliteration and rhyme, have been busy with the series. While the score 
has preserved its identity as a list of numerals, the successive pairs of 
numbers have been altered beyond all recognition, and with perfect arbi- 
trariness. 



Rhymes for Counting Out, 197 

It is plain tliat our counting rhymes cannot have been formed from 
the "Anglo-Cymric score," since the latter is only in use in parts of Eng- 
land, while the former are common to many European nations. Nothing, 
however, prevents the supposition that they owe their origin to a similar 
root. All that can be said is, that no modern language is responsible for 
the practice, which can hardly be supposed to have originated within the 
last thousand years. 

Turning now to other types of formulas for counting, we see that any 
game-rhyme or nursery verse may do duty for such. Of lines used solely 
for this purpose, we find forms which have analogies on the continent of 
Europe. Some of the childish verses so used, like the French rhyme we 
have set at the head of our chapter, contain allusions which stamp them as 
ancient. On the other hand, it seems that, in our own country, little 
American inventions of the sort, recommended by some attractive quaint- 
ness, have gained currency, unwritten as of course they are, from Canada 
to the Gulf. 

It appears, from foreign usage, that it was formerly common for each 
game to have its own especial formula for "counting out," a practice of 
which we have an example in I^o. 107. 

(1.) Onery, uery, hickory, Arm, 

Fillison, follason, Nicholas John, 
Queevy, quavy, Virgin Mary, 
Singakim, sangalum, buck. 

— Philadelphia. 

(2.) Onery, uery, ickory, Ann, 
Filisy, folasy, Nicholas John, 
Queevy, quavy, Irish Mary, 
Stingalum, stangalum, buck.* 

— New England. 

(3.) Onery, uery, ickory, Ann, 

Fillison, follason, Nicholas John, 
Queevy, quavy, English navy, 

* English onery, twoery, etc. The forms we give date back to about 1820, before the 
publication of the "Nursery Rhymes of England." There are numerous small variations. 
" Virgin Mary" we have from informants in the Middle States ; "Irish Mary" was the 
common New England phrase. 



198 Games and Songs of American Children. 

Stinkalum, stankalum, John Buck.. 
B-u-c-k spells buck. 

— Cincinnati (1880), 

(4.) Onery, uery, ickory, a, 

Hallibone, crackabone, ninery-lay, 
Whisko, bango, poker my stick, 
Mejoliky one leg ! 

— Scituate, Mass. (about 1800). 

(5.) Onery, uery, hickory, able, 

Hallowbone, crackabone, Timothy, ladle, 
***** 

— Salem, Mass.* 

(6.) One's all, zuzall, titterall, tann, 
Bobtailed vinegar, little Paul ran, 
Harum scarum, merchant marum, 
Nigger, turnpike, toll-house, out. 

— Salem, Jfass.f 

(7.) One-amy, uery, hickory, seven, 

Hallibone, crackabone, ten and eleven, 
Peep — 0, it must be done, 
Twiggle, twaggie, twentj'^-one. 

— Geo7-gia.\ 

(8.) Onery, uery, ickery, see, 

Huckabone, crackabone, tillibonee ; 

Ram pang, muski dan, 

Striddledum, straddledum, twenty-one.§ 

— Connecticut. 

* This rhyme vras used only by girls. Boys employed No. 2, and would have been 
laughed at for counting like girls. 

f Used by hoys in the vrestern part of the tow^n, where were the toll-house and negro 
settlement. 

X English rhymes : 

Oneery, twoery, ziccary, zan, 
Hollowbone, crackabone, ninery, ten — etc. 

§ This class of formulas (Nos. 1 to 8) appear to be mere variations of the same type, a 
fact which does not prevent individual forms from exhibiting a wonderful permanence. 
We consider as identical a class of German formulas, very wide-spread and variable, thus : 



Rhymes for Counting Out. 199 

(9.) Eny, meny, mony, my, 
Tiisca, leina, bona, stry, 
Kay bell, broken well. 
We, wo, wack.* 

— Massachusetts. 

(10.) Eny, meny, mony, mine, 
Hasdy, pasky, daily, ine, 
Agy, dagy, walk, 

— Connecticut. 

(11.) Eny, meny, mony, mite, 

Butter, lather, bony strike, 
Hair cut, froth neck, 
Halico balico. 
We, wo, wack. 

— Philadelphia. 

{a.) Uniclii, duniclii, tipel-te ! Tibel, tabel, domine. 
(5.) Eckati peckati zucliati me, Avi schavi domine. 
{c.) Aeniga maniga tumpel-ti, Tifel, tafel numine. 
{cl. ) Anigl panigl subtrahi ! Tivi tavi, domini. 
{e.) Endeli ban deli deffende, Gloria tibi domine. 

A rhyme quoted by Mr. Ellis from the MillMll Magazine (a school paper), and credited 
to America, is similar : 

{/.) Eeney, meeny, tipty to, Teena, Dinah, Domine. 

The following formulas from Transylvania are of a simpler type; the first is said to 
imitate the Gipsy, the second the Magyar, speech : 

{g.) Unemi, dunemi, tronemi, ronemi, donemi, 

ronza, konza, jewla, dewla, tschok ! 
(Ji.) Aketum, taketum, tinum, tanum, arsak, mSrsak, etc. 
We take the latter type to be a nearer approach to the original form. All sorts of inter- 
mediate stages can be observed from between these lists and the moj-e complicated ex- 
amples ; but we find no signs of numbers above ten, as in the "Anglo-Cymric score." 
The Russian and Finnish tongues present similar rhymed lists, while many Italian rhymes 
are of like origin, though disguised and extended. 
* In North Germany : 

Ene tene mone mei. Paster Lone bone, strei, 
Ene fune herke berke, Wer ? wie ? wo ? was ? 
As this is but one case of identity out of many hundreds, we suppose the rhyme bor- 
rowed from the English. There are many German rhymes beginning "Ene mene mu," 
or similarly ; but the variation of the first sounds is endless : ene dene, ene tene, ene mene, 
ente twente, entele mentele, ane tane, unig tunig, oringa loringa, etc. ; by association or 
rhyme, any nursery song may be introduced, or the first words may be dropped. 



200 Games and Songs of American Children, 

(12.) Ena, mena, mona, my, 
Panalona, bona, stry, 
Ee wee, fowl's neck, 
Hallibone, crackabone, ten and eleven, 
0-u-t spells out. 

(13.) Intery, mintery, cutery corn, 
Apple-seed and apple-thorn, 
Wire, briar, limber lock, 
Five mice in a flock ; 
Catch him Jack, 
Hold him Tom, 
Blow the bellows, 
Old man out. 

— Massachusetts. 

(14.) Ikkamy, dnkkamy, alligar, mole, 
Dick slew alligar slum, 
Hukka pukka, Peter's gum, 
Francis. 

— Massachusetts. 



(15) 1. ane. 


6, sother. 


11. een dick. 


16. een bumfrey. 


2. tane. 


7. lother. 


12. teen dick. 


17. teen bumfrey. 


3. tother. 


8. CO. 


13. tother dick. 


18. tother bumfrey. 


4. feather. 


9. deffrey. 


14. feather dick. 


19. feather bumfrey. 


5. fip. 


10. dick. 


15. bumfrey. 


20. gig it. 


(16.) 1. een. 


6. sother. 


11. een dick. 


16. een bumpit. 


2. teen. 


1. 1 other. 


12. teen dick. 


IV. teen bumpit. 


3. tuther. 


8. porter. 


13. tuther dick. 


18. tuther bumpit. 


4. futher. 


9. dubber. 


14. futher dick. 


19. futher bumpit. 


5. fip. 


10. dick. 


15. bumpit. 


20. gig it.* 



* These examples of the "Anglo-Cymric score " (see page 196) were obtained, No. 15 
from Mrs. Ellis Allen of West Newton, now ninety years of age, who was born at Scituate, 
Mass., where she learned the formula ; and No. 16 of her daughter, who learned it from an 
Indian woman, Mary Wolsoniog, of Natick. Though mother and daughter, neither had ever 
heard the other's version of the score. To illustrate the relation of this score with Welsh 
numerals, we add two examples from Mr. Ellis's paper ("reprinted for private circulation 
from the Transactions of the Philological Society for 1877-8-9," pp. 316-372), selected from 
his fifty-three versions ; the first is from England, the second from Ireland : 



Rhymes for Counting Out. 

(17.) Stick, stock, stone dead, 
Set him up. 
Set him down, 
Set him in the old man's crown. 

— Philadelphia. 

(18.) Apples and oranges, two for a penny, 

Takes a good scholar to count as many ; 
0-u-t, out goes she, 

— Philadelphia. 

(19.) a, b, c, d, e, f, g, 

h, i, j, k, 1, m, n, o, p, 
q, r, s, t, 
u are out, 

— Cincinnati. 

(20.) 1, 2, 3, 4, 

Mary at the kitchen-door, 

5, 6, 7, 8, 

Mary at the garden-gate. 

— Massachusetts (1820). 



20I 



1. aina. 


6. ithy. 


11. ain-a-dig. 


16. ain-a-bumfit. 


2. peina. 


7. mithy. 


12. pein-a-dig. 


17. pein-a-bumfit. 


3. para. 


8. owera. 


13. par-a-dig. 


18. par-a-bumfit. 


4. peddera. 


9. lowera. 


14. pedder-a-dig. 


19. pedder-a-bumfit. 


5. pimp. 


10. dig. 


15. bumfit. 


20. giggy. 


1. eina. 


6. Chester. 


11. eina dicliera. 


16. eina pumpi. 


2. mina. 


7. nester. 


12. mina dickera. 


17. mina pumpi. 


3. pera. 


8. nera. 


13. pera dickera. 


18. pera pumpi. 


4. peppera. 


9. dickera. 


14. peppera dickera. 


19. peppera pumpi. 


5. pinn. 


10. nin. 


15. pumpi. 


20. ticket. 


The modern Welsh numerals, 


as given by Mr. Ellis : 




1. un. 


6. chwech. 


11. un ar deg. 


16. un ar bymtheg. 


2. dau. 


7. saith. 


12. deuddeg. 


17. dau ar bymtheg. 


3. tri. 


8. wyth. 


13. tri ar deg. 


18. tri ar bymtheg. 


4. pedwar. 


9. nau. 


14. pedwar ar deg. 


19. pedwar ar bymtheg. 


5. pump. 


10. deg. 


15. pymtheg. 


20. ugain. 



The numbers 4, 5, 15, and combinations 1+15, 2+15, 3+15, 4+15, seem to malie the con- 
nection unmistakable ; but 2, 3, 6, 7, 8, 9 appear to have been arbitrarily affected by rhyme 
and alliteration. 



202 Gmnes and Songs of American Children. 

(21.) 1, 2, 3, 4, 

Lily at the kitchen-door, 
Eating grapes off the plate, 
5, 6, 7, 8. 

— Philadelphia (1880). 

(22.) 1, 2, 3, 4, 5, 6, 7, 8, 

Mary sat at the garden-gate, 
Eating plums off a plate, 
1, 2, 3, 4, 5, 6, 7, 8. 

(23.) 1, 2, 3, 4, 5, 6, V, 

All good children go to heaven. 

— Massachusetts to Pennsylvania. 

(24.) 1, 2, 3, 4, 5, 6, V, 8, 

All bad children have to vpait. 

— Massachusetts. 

(25.) Monkey, monkey, bottle of beer, 

How many monkeys are there here? 
12 3 

X, *J, o, 

You are he (she). 

— Massachusetts to Georgia. 

(26.) Linnet, linnet. 

Come this minute. 

Here's a house with something in it ; 

This was built for me, I know. 

— Philadelphia. 

(27.) School's up, school's down, 
School's all around the town. 

(28.) Three potatoes in a pot, 

Take one out and leave it hot. 

— Philadelphia. 

(29.) Mittie Mattie had a hen, 

She laid eggs for gentlemen. 
Sometimes nine and sometimes ten. 

— Georgia. 



Rhymes for Countmg Out. 203 

(30.) William a Trimbletoe, 
He's a good fisherman, 
Catch his hands, put them in pens. 
Some fly East, some fly West, 
Some fly over the cuckoo's nest — 
0-u-t spells out and be gone. 

— Georgia. 

(31.) Red, white, and blue. 
All out but you. 

— Philadelphia. 

(32.) Engine No. 9, 
Out goes she. 

— Philadelphia. 

(33.) As I went up the apple-tree. 
All the apples fell on me ; 
Bake a pudding, bake a pie, 
Did you ever tell a lie? 
Yes, you did, you know you did. 
You broke your mother's teapot-lid— 
L-i-d, that spells lid. 

— Cincinnati. 

(34.) Little man, driving cattle. 

Don't you hear his money rattle? 
One, two, three. 
Out goes he (she). 

— Massachuse t ts. 

(35.) Monday's child is fair of face, 
Tuesday's child is full of grace, 
Wednesday's child is sour and sad, 
Thursday's child is merry and glad, 
Friday's child is full of sin, 
Saturday's child is pure within ; 
The child that is born on the Sabbath day, 
To heaven its steps shall tend alway.* 

— Oeorgia. 

* This verse is used as a counting rhyme by children in the state mentioned. 



204 Games and Songs of American Children. 



XV. 

MYTHOLOGY. 

In the olde dayes of the Kyng Arthour, 
Of which that Bvitouns speken gvet honour, 
Al was this land fulfilled of fayrye. 

The Wife of Baths Tale. 

No. 150. 

London Bridge. 

No game has been more popular with children than this, and any sum- 
mer evening, in the poorer quarters of the cities, it may still be seen 
how six years instructs three years in the proper way of conducting it. 
Two plaj'ers, by their uplifted hands, form an arch, representing the 
bridge, under which passes the train of children, each clinging to the gar- 
ments of the predecessor, and hurrying to get safely by. The last of the 
train is caught by the lowered arms of the guardians of the bridge, and 
asked, "Will you have a diamond necklace or a gold pin?" "a rose or 
a cabbage?" or some equivalent question. The keepers have already 
privately agreed which of the two each of these objects shall represent, 
and, according to the prisoner's choice, he is placed behind one or the 
other. When all are caught, the game ends with a " Tug of War," the 
two sides pulling against each other ; and the child who lets go, and breaks 
the line, is pointed at and derided. The words of the rhyme sung while 
the row passes under the bridge are now reduced to two lines, 

London Bridge is falling down, 
My fair lady ! 

Readers may wonder why this well-known game should be classed as 
mythological; but such a character appears in the European versions. 
Thus, in Suabia, the two keepers of the "Golden Bridge" are called re- 
spectively the "Devil" and the " Angel," and the object is to decide who 



Mythology. 205 

shall be devils and who angels. In France the game is known as " Heaven 
and Hell." The children who have made a good choice, after the selec- 
tion is iinished, pursue the devils, making the sign of horns with fingers 
extended from the forehead. In Italy, the name of the sport is " Open 
the Gates." Tiie gates are those of the Inferno and of Paradise ; St. 
Peter is the keeper of one, St. Paxil of the other. The children choose 
between wine and water ^ but when the destiny of the last child is de- 
cided, the two girls who represent tlie keepers of the bridge break their 
arch of lifted hands and move in different directions, followed by their 
subjects, " while the cries and shrieks of the players condemned to the 
Inferno contrast with the pathetic songs and sweet cadences of those 
destined to the happiness of Paradise." 

The game is mentioned by Rabelais (about a.d. 1533) under the name 
of the " Fallen Bridge." 

In German versions, the keepers are called "Devil and Angel," "King 
and Emperor," or "Sun and Moon." In this latter form the game has 
been one of the few kept up by the Germans of Pennsylvania, who call 
it the "Bridge of Holland."* 

Connected with this game in Massachusetts is a curious piece of local 
lore. A ladyf recollects that, in the first years of the century, a pedler 
came to her father's house in Plymouth, Mass., and, in default of three 
cents change, left a " chap-book " or pamphlet of that value, called " Moth- 
er Goose's Melodies." In this pamphlet (the first authentic mention of a 
publication of that title) the song was included, in the familiar words ; 
but, instead of London bridge, Charlestown bridge was substituted in tlie 
rhyme. In that form only the verses were familiar to herself and her 
companions. 

Charlestown Bridge, over Charles River, connected Boston with Cam- 
bridge and other suburban towns, before that time only accessible by ferry 
or a long detour. The bridge was "dedicated" July 17, 1786; and was, 
in the eyes of the rustic population of Massachusetts, quite as important 
a structure as the Loudon erection of the thirteenth century. The proj- 
ect was undertaken after a long incubation of sixty years, and not without 
many apprehensions lest the vast masses of ice rushing down the river in 
winter should sweep it away. The cost was fifteen thousand pounds. At 
the celebration, a salute of thirteen guns was fired from Fort Hill, 

* Die HoUandisch.' Briick'. f Mrs. R, W. Emerson, of Concord, Mass. 



2o6 Games and Songs of American Children. 

" almost every person of respectable character in private and public life 
walked in the procession," and eight hundred persons sat down to dinner. 
No wonder that its fame superseded, locally at least, that of the celebrated 
structure which was so long the wonder of London, and so sacred in nur- 
sery lore. We may thus form an idea of the importance of bridges in 
earlier times — which importance, and the superstitions consequent, were 
the root of our game — and also of the tendency of each town to localize 
its traditions, even those of the nursery. 

With the exception of the name, the words of the song, in the chap- 
book referred to, were identical with those of the familiar English version. 
We learn from another informant that these same words (this time, how- 
ever, under the proper title of London Bridge) were often used as a 
dance-song at children's parties about the beginning of the century. The 
dancers sat in a circle, a boy next a girl; as each verse was sung, the lad 
whose turn it was led out his partner and promenaded, suiting action to 
meaning. The exact verbal correspondence, and absence of the original 
mode of playing, show that this version of the song, and consequently the 
rhymes of the pamphlet called " Motlier Goose's Melodies," were not 
taken from the lips of Americans, but reprinted from English sources. 

The version repeatedly printed in books for children is not truly popu- 
lar. It has been remodelled by the recorder, and so the original idea has 
been disguised. We have, however, the pleasure of offering a genuine 
English version. We add fragments of American forms, and finally a 
curious text, for which Ireland is ultimately responsible. From these, 
taken together, the character of the old English game can be made out. 

A. — Song of Charlestown Bridge, as printed (probably about 1786) in 
the chap-book, " Mother Goose's Melodies :" 

Charlestown Bridge is broken down, 

Dance o'er my lady Lee ; 
Charlestown Bridge is broken down, 

With a gay lady. 

How shall we build it up again ? 
Dance o'er ray lady Lee, etc. 

Build it up with silver and gold, 
Dance o'er my lady Lee, etc. 

Silver and gold will be stole away, 
Dance o'er my lady Lee, etc. 



Mythology. 207 

Build it up with iron and steel, 
Dance o'er ni)^ lady Lee, etc. 

Iron and steel will bend and bow, 
Dance o'er my lady Lee, etc. 

Build it up with wood and clay, 
Dance o'er my lady Lee, etc. 

Wood and clay will wash away, 
Dance o'er my lady Lee, etc. 

Build it np with stone so strong, 

Dance o'er ray lady Lee, 
Huzza ! 'twill last for ages long, 

With a gay lady. 

B. — London Bridge is broken down. 

Dance over my lady Lee ; 

London Bridge is broken down, 
With the gay lady. 

How shall we mend it up again ? 

Dance over my lady Lee ; 
How shall we mend it up again 

For the gay lady ? 

We will mend it up with gravel and sand, 

Dance over my lady Lee ; 
We will mend it up with gravel and sand 

For the gay lady. 

But gravel and sand will wash away. 

Dance over my lady Lee ; 
Gravel and sand will wash away 

From the gay lady. 

We will mend it up with iron and steel. 

Dance over my lady Lee ; 
We will mend it up with iron and steel 

For the gay lady. 

But iron and steel will bend and break. 

Dance over my lady Lee ; 
Iron and steel will bend and break, 

With the gay lady. 



2o8 Games and So7igs of American Children. 

We will mend it up with silver and gold, 

Dance over my lady Lee ; 
We will mend it up with silver and gold 

For the gay lady. 

Silver and gold will be stolen away, 

Dance over my lady Lee ; 
Silver and gold will be stolen away 

From the gay lady. 
We will put a man to watch all night, 

Dance over my lady Lee ; 
We will put a man to watch all night 

For the gay lady. 
Suppose the man should fall asleep ? 

Dance over ray lady Lee ; 
Suppose the man should fall asleep? 

My gay lady ! 
We will put a pipe into his mouth, 

Dance over my lady Lee ; 
We will put a pipe into his mouth. 

For the gay lady.* 

C. — London Bridge is falling down, 
Falling down, falling down, 
London Bridge is falling down. 
My fair lady ! 

You've stole ray watch and kept ray keys. 
My fair lady ! 

Off to prison she must go, 
My fair lady! 

Take the key and lock her up. 

My fair lady ! f 

— Boston, Mass. 

* From Prof. G. J. Webb, now of New York, who learned it from his mother, in the 
Isle of Wight, his birthplace. 

f As the last verse is sung, the raised arms of the two directors of the game descend, 
and enclose the child who happens to be passing at the time. The prisoner is then led, 
still confined by the arms of her captors, to the corner which represents the prison. After 
this she must choose as described on page 204, and the two sides finally pull against each 
other. Our informant well remembers how seriously the matter was taken, and how 
disturbed and disgraced she felt when arrested and imprisoned. 



Mythology. 



209 



4*=:isi^- 



=J£: 



g= B ^^:g" N=r[f^ 



London Bridge is falling down, falling down, falling down, London Bridge is falling down, my fair lady. 




V V 



D. — London Bridge is falling down, 
My fair lady ! 

What did the robber do to you ? 
My fair lady ! 

He broke ray watch and stole my keys, 
My fair lady ! 

Then off to prison she must go. 
My fair lady ! 

— Savannah, Ga. 

E.— Onr last version is from the convent- school of Savannah, and, 
although recited by a girl of American birth, is of Irish origin : 

London Bridge is falling down, etc. 
My fair lady ! 

How shall we build it up again ? — 
Build it up with lime and stone. — 
Stone and lime would wash away. — 
Build it up with iron bars. — 
L^on bars would bend and break. — 
Build it up with gold and silver. — 
Gold and silver would be stole away. — 
Get a watch to watch all night. — 
Suppose the watch should fall asleep ? — 
Get him a pipe to smoke all night. — 
Suppose the pipe should fall and break? — 
Get a dog to bark all night. — 
Suppose the dog should get a bone ? — 
Get a cock to crow all night. — 
Suppose the cock should fly away? — 
"What has this poor prisoner done? — 
He's broke my box and stole my keys. — 
A hundred pounds will set him free. — 
14 



2IO Games and Songs of American Children. 

A hundred pounds be has not got. — 
Off to prison he must go, 
My fair lady /* 

As to the origin of this remarkable game, our citations have already 
made clear that one of its features consists in a representation of tlie an- 
tagonism of celestial and infernal powers, and the final decision by which 
each soul is assigned a place on the one side or the other. It was univer- 
sally believed in the Middle Ages, that the soul, separated from the body, 
had to cross a dangerous bridge, and subsequently undergo a literal 
weighing in the balance, according to the result of which its destiny was 
decided. It is in the nature of things that children, conversant with 
these ideas, should have dramatized them in their sports. We see no 

* We have obtained a nearly identical, but more fragmentary version from Waterford, 

Ireland, with a refrain that seems a corruption of that belonging to the ordinary English 

song; thus — 

London Bridge is broken down, 

Fair lady! 

How shall we build it up again ? 

Orand says the little dear. 

We have also, from an Irish domestic, a most curious account of the use of the latter 
version in the town named. Agreeing, as it does, in essential respects with the character 
which the European game now possesses, and which the English game once evidently 
possessed, we do not doubt its general correctness ; but we have had no opportunity to 
vex'ify the statement of the somewhat inconsequent informant. 

An actual bridge was built up with sticks and boards, and surrounded by the ring of 
players, dressed in costume ; without stood the Devil. Little girls in variously colored 
dresses represented the angels. 

The repeated fall and rebuilding of the bridge was acted out, as described in the verses 
of the song; this fall was ascribed to the malice of the Devil, who ruined it during the, 
night (watching it, said the narrator, from the top of an ash-tree during the day). 

The imprisonment of the child enclosed by the arms of the leaders was acted out as de- 
scribed in the note on page 208, but in a noteworthy fashion. A chain was taken, and 
wrapped round the child, in the form of a serpent (for the Devil is a serpent, said the reciter) ; 
the captive was taken to a hut (representing apparently the entrance to the Inferno) built by 
the sea. Meantime, the rest of the train called on their leader for help ; but he answered, 
"the Devil has five feet, and thirteen eyes, and is stronger than I !" The performance 
lasted five hours; and the name of the edifice was the Devil's Bridge. 

In this Irish game, tests were employed to determine whether the captive should be- 
long to the Devil or not. One of these was the ability to walk on a straight line drawn on 
the ground. 

On the windows of French mediaeval churches devils may be seen surrounding the 
condemned with a great chain, which they use to drag them into their clutches. 



Mythology. ii\ 

reason, with the German writers, to go back to ancient Northern mythol- 
ogy ; nor do we find any ground for believing that our game is more 
likely to be of Teutonic than Romance descent. 

We suspect, however, that that part of the sport which relates to the 
warfare of good and evil powers does not belong to the original idea, but 
that a still more primitive game has taken on an ending which was common 
to many amusements in the Middle Ages. The central point of the whole 
is the repeated downfall of the structure. ]l^ow there is a distinct mytho- 
logic reason for such a representation. In early times no edifice was so im- 
portant as a bridge, which renders intercourse possible between districts 
heretofore separated. Hence the sanctity attributed in medigeval times to the 
architects of bridges. The Devil, or (in more ancient guise) the elemental 
spirit of the land, who detests any interference with the solitude he loves, 
has an especial antipathy to bridges. His repeated and successful attempts 
to interfere with such a structure, until he is bought off with an offering 
like that of Iphigenia, are recorded in legends which attach to numerous 
bridges in Europe. It is on such supernatural opposition that the Eng- 
lish form of the game appears to turn. The structure, which is erected 
in the daytime, is ruined at night ; every form of material — wood, stone, 
and gold — is tried in vain ; the vigilance of the watchman, or of the cock 
and the dog — guardian animals of the darkness — is insufiicient to protect 
the edifice from the attack of the offended spirits. 

The child arrested seems to be originally regarded as the price paid 
for allowing the structure to stand. In times when all men's thoughts 
were concerned about the final judgment, a different turn was given to 
the sport — namely, whether the prisoner should belong to the devils or 
to the angels, who wage perpetual warfare, and dispute with each other 
the possession of departed souls. Finally, in quite recent days, religious 
allusions were excluded, and the captive, now accused of mere theft, was 
sentenced to be locked up, not in the Inferno, but in a commonplace jail. 



212 Games and Songs of American Children. 

No. 151. 
Ojpen the Gates. 

This game is a variation of the last, and is played similarly, ending 
with a '- tug of war," as described on page 204. 

Open the gates as high as the sky, 
And let the King of Spain pass by ; 
Choose one, 
Choose two, 
Choose a pretty little girl like you. 

More usual is a shorter rhyme, thus : 

Open the gates as high as the sky, 

And let King George and his troops* pass by. 



Ko. 152. , 
We i g h i n g. 

Two children, linking hands, form a " basket " (each grasping with the 
left hand the right wrist of the other, and with the right hand his left 
wrist), in which another child is lifted, who embraces with his arms the 
necks of his bearers. He is then swung to and fro, and finally made to 
strike the wall. If he lets go his hold, he is called " Eotten Qg^^'' which 
is regarded as a highly ignominious name. 

This title is also applied to the child who lets go in the "tug of war" 
in " London Bridge." A similar lifting in a basket (as we have been told 
by one who remembered so playing in youth) formed, in Philadelphia, 
part of the same game. 

The original meaning of this exercise is made clear by an Italian coun- 
terpart, in which it is called " Weighing." The child after being lifted is 
made to jump over one of the lowered arms of his bearers, and if he es- 
capes from their grasp is destined iov Paradise, otherwise for ih.Q Infeomo. 
The French usage is the same.f Weighing, to decide whether the child 

* Or, his wife. 

f A I'epayelle (that is, in the basket) 

Tout du long de ciel, 

Tout du long du paradis, 

Saut'! Saut'! Saut souris! 



Mythology. 2 1 3 

should be angel or devil, sometimes forms part, also, of the German game 
corresponding to " London Bridge." 

Another English game shows us a relic of this practice — namely, that 
called " Honey-pots," from which, as nsual in children's sports, the original 
religious idea has disappeared. A child is lifted and swung until the hold 
is relaxed, when \X\q. 'pot is said to weigh so many pounds.* 

Other tests used in German games to decide whether a child shall be 
an angel or not, are — tickling, in which a sober face must be kept; jump- 
ing over a cord, or measuring the height. These customs of play are 
surviving forms of usages once equally commou in English sports. 



No. 153. 

Co lor 8. 



A. — A row of children, on the door -steps of a house, or against a 
chamber wall. Opposite each other stand two girls, representing, one the 
good, the other the bad, angel. Every child selects a color. The mother 
stands at the foot of the steps. The " Good Angel " knocks at the door 
(^. 6., the side of the flight of house-steps), and is answered by the mother : 

" Who's knocking at the door ?" 
"The Angel with the Golden Star." 
"What do you want?" 
" Blue " (or any color). 

The " Good Angel" names a color. If this color is represented among the 
children, the angel takes the child, but if the application is unsuccessful, 
must retire, whereon the "Bad Angel," or the "Angel with the Pitch- 
fork," comes forward in like manner. When all the children are di- 
vided, a "tug of war" ensues, as in "London Bridge." 

This form of the game is probably a recent translation from the Ger- 
man, by New York children. f 

* See No. 154, E, and note. 

f Ganae of New York German children: "Wer ist daraus?" "Der Engel mit dem 
goldenen Strauss." "Was Will er?" -'Eine Farbe." "Was fiir eine?" "Blau," etc. 
Then "Der Engel mit dem Feuerhaken" comes forward, and so on, "bis alle Farben fort 
sind." 



2 14 Games and Songs of American Children. 

B. — In the convent-school of Savannah, Ga., as we learn from a for- 
mer pupil, birds instead of colors represented the children, and the formula 
was, " Barn, barn,* who comes here ?" It was replied, " Good angel," or 
"Bad angel." The angels then " fought and tried to get the child." 

C. — In Philadelphia there is a game in which the children, having 
received birds' names, are pursued by the mother, and, if captured, are put 
into the slop-bowl ; otherwise, into the sugar-bowl. 

Similarly, in a Swiss game, we have the mother and a bird-catcher. 
The latter endeavors to guess the titles of the children, who are called 
after birds or colors. When the name of a child is guessed, she takes 
flight, and if she can escape, returns to the mother; if caught, she belongs 
to the pursuer, and the game ends with a " tug of war." 

Corresponding is the French game of "Animals." The devil and a 
purchaser are first chosen. The seller names the animals, and shuts them 
up in an enclosure. The devil, who has not heard the naming, comes 
upf and guesses the title of the beast. If he guesses right, the seller 
says " Go !" while the animal makes a circuit to return to his den. The 
devil must first buy (with so many taps on the palm of the hand of the 
dealer) the beast, before he can pursue. If he catches the latter, he 
marks him with three blows on the head and tail, and the animal becomes 
the devil's dog. The game finishes when all the animals have been so 
captured. 

The conflict which ends this game is curious. In Switzerland, the 
angel who obtains a child carries it in his arms within his limit, and the 
devil similarly. After all the children are divided, a struggle begins, the 
devils defending themselves with claws, the angels with wings. In Aus- 
tria the boundary between Heaven and Hell is marked out by a piece of 
wood, called " Fire." Each child grasps the waist of his predecessor with 
both arms, the leaders join hands over the "Fire," and the contest lasts 
until all are pulled to one side or the other. 

These battles between opposing supernatural forces rest on a basis 
older than Christianity. The "Game of the Shell" is thus described by 
Pollux : " The shell-game ; where the boys draw a line on the ground 
and choose sides, one side selecting the outside of a shell, the other the 
inside. One who stands on the line having thrown up the shell, which- 

* An imitation of knocking. Italian, Din-din; Frencli, pan! pan! etc. 
t The dialogue is : "Pan ! pan !" " Qui est-ce qui est 1^?" " C'est le diable avee sa 
fourche." "Que veut-il?" "Un animal." "Entrez." 



Mythology. 2 1 5 

ever face comes uppermost, those who belong to that give chase, and 
the other party turn and fly. Any fugitive who gets caught is called 
the ass. He who pitches the shell says, ' Night, day ;' for the outside is 
smeared with pitch, and signifies night ; whence this boys' game is also 
called the ' turning of the shell.' " 

The word ass here means that the boy caught had to carry home his 
pursuer on his back. 

Plato alludes to this game in the " Republic," saying of the efforts of 
the soul to pass from the realm of darkness to that of light, "it does not 
depend on the turn of a shell." 

We thus see the successive mental conceptions of antiquity, the Middle 
Ages, and modern time reflected in the changes of children's sports. 



No. 154. 
Old Witch. 



A. — Ten girls, a mother, a witch, and eight childreu — namely, Sunday, 
Monday, Tuesday, "Wednesday, Thursday, Friday, Saturday, and the eldest 
daughter Sue. The mother, preparing to go out, addresses her children : 

Now all you children stay at Lome, 
And be good girls while I am gone; 

Let no one in"^ 

* # * * # 

Especially you, my daughter Sue, 

Or else I'll beat you black and blue.f 

The witch knocks at the door, and is refused entrance by the chil- 
dren. She beguiles them by promises to admit her, which they finally do. 
She then holds out her pipe (a bit of stick), which she carries between her 

* A line and a half are wanting. 

\ "I charge my daughters every one, 

To keep good house while I am gone. 

Tou and you [points] but specially Sue, 

Or else I'll beat you black and blue." 

Prom "Nursery Rhymes of England," where it is said to be a game of the Gypsy, who 
" during the mother's absence comes in, entices a child away, and hides her. This process 
is repeated till all the children are hidden, when the mother has to find them." 



2i6 Games and Songs of American Children. 

teeth, sajing to Sue, " Light mj pipe !" Sne refusing, she makes the same 
demand to each child, in the order of the days of the week, in which they 
are ranged. All refuse till she reaches the last, who consents and touches 
her pipe, whereupon the witch seizes her hand, and drags her out of the 
house to her " den." 

The mother then returns, counts the children, and Sue is questioned 
and punished. This is played over until each child is taken, Sue last. 

When the mother has lost all her children, the witch calls, and invites 
her to dinner. Upon going to the witch's door, she finds a table set for 
the meal, and the witch asks her to order a dish to suit her taste. She 
does so, whereupon the witch produces Sunday, and lays her upon the 
table, with considerable assistance from Sunday. 

A very amusing dialogue now ensues between the witch and the 
mother. The former urges the mother to eat, with many blandishments, 
and the mother (recognizing her child) declines, with such excuses as any 
ingenious child can devise. 

The mother, upon pretence of inability to eat the food, calls for an- 
other dish, and, when the witch leaves the room, hurries the child from the 
table and places her behind the chair. When the witch returns, she says 
that she found the dish so good that she ate it all, and calls for another. 

Each child is produced in turn, with the same result. When all are 
arranged behind their mother, she calls for another dish, and when the 
witch leaves the room to get it, runs home with all her children. 

Hartford., Conn. 

Our second version (B) is from the lips of a little girl in New York 
city. The persons represented are the same, except that a servant in- 
stead of one of the daughters is left to take care of the children. Scene, 
the doorsteps, or " stoop," of a New York dwelling-house. 

Mother \sings\. Chickany, chickany, crany, crow. 

Went to the well to wash her great toe, 

And when she came back her chicken was dead.* 

\^To Servant]. I am going out, and let nobody come in. 

[^Exit. Enter presently, Witch. 

* This verse is borrowed from another game, No. 102. The drama opens with a fore- 
boding. The prophetic soul of the mother uses the lament of a hen who has lost one of 
her brood. 



. Mythology. 2 1 7 

Witch \to Servant\. Give me a match to light my pipe. 

Servant. I haven't any. 

Witch. Your kettle's boiling over. 

Servant. No. 

Witch. Your kettle is boiling over. 

Servant \^goes to look]. Witch seizes a child and carries her off. [Re-enter Mother. 

Mother [to servant]. Where's my Monday ? 

Servant. Under the table. 

Mother [calls]. Monday ! 

Servant. Up in the band-box !* 

Mother. How to get up ? 

Servant. Put two broken chairs on a broken table. 

Mother. Suppose I should fall and break my neck ? 

Servant. Good enough for you. 

Mother beats servant, but recovering from her loss, goes oot again. 
Witch enters as before, and carries off successively all the children, and at 
last the servant. Witch then puts the children in a row, cooks them, and 
makes them into pies, naming them apple-pie, peach -pie, etc. Mother 
goes out to buy pies. 

Mother \to Witch]. Have you any pies? 
Witch. Yes, some very nice apple-pies, which you will like. 
Mother \tastes]. This tastes like my Monday. [Re-animates Monday.] Mon- 
day, who brought you here? [Beats her, and sends her home.] 

The mother proceeds in the same manner, and brings to life the other 
children, 

C. — The name of the witch in this variation is " Old Mother Cripsy- 
crops," and the game begins by playing ISTo. 89. When the mother goes 
out, the children call after her, " Old mother, the kettle boils." She 
answers, " Take a spoon and stir it." " We haven't got any." " Buy 
one." " We have no money." " Borrow," says the mother. " People 
won't lend," reply the children. 

The witch comes in, and entices Sunday away by fine promises. When 
the mother comes back, she inquires, " Where's my Sunday ?" The chil- 
dren make some excuse, as, "Perhaps he has gone down cellar," etc. She 
tells Tuesday to take care of Monday, as she had previously placed Mon- 
day in charge of Sunday, and goes out again, when the same scene is re- 
peated, until all the children have been carried off. 

* Or any elevated position. Also, in heaven. 



2i8 Gaines and Songs of American Children. 

The mother now calls at tlie witch's house, and asks to be let in. The 
witch refuses, saying, " No, your shoes are too dirty." " But I will take 
off my shoes." " Your stockings are too dirty." " Then I will take off 
my stockings." " Your feet are too dirty." " I will cut off my feet." 
*' That would make the carpet all bloody," " But I must see my children, 
and you have got them." " What should I know about your children ? 
But if you like you may call to-morrow at twelve." 

The mother departs, and as soon as she is gone the witch goes to the 
children and renames them all. One she calls Mustard, another Pepper, 
another Salt, another Yinegar, etc. Then she turns their faces to the 
wall, and tells them to give these names if they are asked who they are. 
The mother calls again at the house of the witch, and this time is admit- 
ted. She asks the children what their names are, and they all answer as 
they were instructed by the witch. She then asks the first child to let 
li«r feel his toe. He puts up his foot, and when the mother feels it she 
says, " This is my Sunday ! let your big toe carry you home ;" where- 
upon he runs off. The same process is gone through with all the other 
children. 

D. — To the mother (this time present), in the midst of her children, 
approaches the witch, who comes limping, leaning on a cane. The dia- 
logue is between mother and witch. 

" There's old mother Hippletybop ; I wonder what she wants to-day ?" 
" I want one of your children." 
" Which one do you want ?" 

The witch names any child of the row. 

" What will you give her to eat ?" 

" Plum-cake " (a different delicacy for each child). 

The witch carries off the child, and observes : " Walk as I do, or else I'll 
kill you." She takes the child home and kills her, then returns for an- 
other. When all are gone the mother goes out to look for her children. 
She goes to the witch's house, and finds all the children (presumed to be 
dead) against the wall, making the most horrible faces. She points to a 
child, and asks, "What did [Mary] die of?" "She died of sucking her 
thumbs" (naming the child's gesture). Suddenly all the children come 
to themselves, and cry out, " Oh, mother, we are not dead !" 

Portsmouth^ N. H. 



Mythology. 219 

E. — In a fifth version, which we have failed to obtain in full, the witch 
changed the children into birds ; and the mother, in order to recover 
them, must gness the name of the bird. Colors, instead of birds, were 
also used to represent the children. 

F. — We have already spoken of the old English game of " Honey- 
pots " as an imitation of " Weighing." This trait, however, as might be 
supposed from its insignificant character, is a mere fragment of the orig- 
inal. In London (as we learn from an informant of the laboring class, 
who remembers taking part in the amusement), a child as market-woman 
arranges the rest in a row to indicate honey-pots, each wath its specific 
flavor. While she is busy at one end of the row, a thief comes in and 
steals a pot from the other end. This process is repeated, until all the 
pots are taken. The dealer then goes out to buy honey-pots, and recog- 
nizes her own by the flavor, so recovering the stolen goods. 

This game without doubt is the most curious of our collection, both 
on account of its own quaintness, and because of the extraordinary rela- 
tion in which it stands to the childs' lore of Europe. We have, in a note, 
endeavored to show that our American versions give the most ancient 
and adequate representation now existing of a childish drama which has 
diverged into numerous branches, and of which almost every trait has set 
up for itself as an independent game. Several of these offshoots are cen- 
turies old, and exist in many European tongues ; wdiile, so far as appears, 
their original has best maintained itself in the childish tradition of the 
]S"ew World. 

Among a great number of German forms, only one (from Suabia) 
nearl}^ corresponds to ours, with the exception of a corrupted ending. 

In this childish drama a mother has many children, who sleep. In 
her a.bsence comes " Old Urschel " with her two daughters, the " Night- 
maidens" (a sort of fairies), who steal three children, and carry them off 
to their cave (hiding them behind their extended dresses). The mother 
visits Urschel's abode to complain of the theft, but the " Night-maidens," 
with deprecating gestures, deny any knowledge of the lost. The action 
is then repeated, the eldest daughter (who plays the same part as in our 
first version) being taken last. 

When the mother's complaints are useless, she becomes a witch. The 
next day Urschel takes her stolen family for a walk. The mother comes 
up and pulls the dress of a child ; by her magic art all feel it at the same 



2 20 Games and Songs of American Children. 

time, and crj to Urschel, " Ob, mother, somebody is pulling my gown !" 
Tbe latter replies, " It must be a dog." The mother then asks and ob- 
tains leave to join the party, but endeavors to bewitch (or disenchant) her 
children, who cry, " The Witch of London !" and scatter, but are captured 
by the latter and turned into witches.* 

In Sweden the mother is called "Lady Sun." An old woman enters, 
propped on a cane, goes to Lady Sun's house and knocks, " Who is that 
knocking at my door?" "An old woman, halt and blind, asks the way to 
Lady Sun; is she at home?" "Yes." The old woman points out a 
child, and asks, " Dear Lady Sun, may I have a chicken?" She is refused 
at first, but by piteous entreaties obtains her wish, and returns, until all 
the " chickens " are carried off. " She was not so lame as she made 
believe," says Lady Sun, looking after her. 

The antiquity of our game is sufficiently attested by the wide diffusion 
of many of its comparatively recent variations. We remark, further, that 
the idea of the child-eating demon, so prominently brought forward in our 
American versions, is a world-old nursery conception. The ancients were 
well acquainted with such feminine supernatural beings. " More fond of 
children than Gello," says Sappho, referring to an imaginary creature of 
the sort. The most ancient view of this passion for stealing children was, 
that it was prompted by the appetite. Tales of ogres and ogresses, who 
carried off and devoured young children, must have been as familiar in 
the Koman nursery as in our own. 

The trait of lim/ping, characteristic of " witches " in games, is equally 
ancient. That such demons are defective in one foot is expressed by the 
ancient Greek name "Empusa" (literally One-foot), to whom was attrib- 
uted an ass's hoof, a representation which contributed to the mediaeval 
idea of the devil. A child's game, in which a boy, armed with a knotted 

* This Urschel is a mythologic character. When the children of Pf lillingen climb the 
Urschelberg, where she lives, each child deposits on a certain stone two or three horn but- 
tons as an offering. On returning, they observe whether she has not taken them away; 
and, even if the buttons remain, they are sure that she has taken pleasure in them. When 
they pass a certain slope they roll down perforated stones (called "suns"), and the child 
whose "sun " rolls farthest says with pride, "Urschel liked my present best." 

Urschel passes for an enchanted maiden, whose original name was Prisca. Every four 
centuries she plants a beech-tree for the cradle of the youth whose love is at last to release 
her. The chosen shepherd sees her sitting by the roadside, in the shape of an old woman, 
dressed in green gown and red stockings. But none has ever dared to wed her for the sake 
of the castle and treasure she offers. 



Mythology. ■ 221 

handkerchief, pursues his comrades, hopping on one foot, is known in 
France as "The Limping Devih"* This game existed also in ancient 
Greece. 

The reanimation and recovery of the children, with which the Ameri- 
can performance closes, is a familiar trait of ancient nursery tales. 



:N"o. 155. 
The Ogress Coop. 

Half a century since, in eastern Massachusetts, it was a pastime of 
boys and girls for one of the number to impersonate an Ogree\ (as the 
word was pronounced), who caught his playmates, put them in a coop, and 
fattened them for domestic consumption. From time to time the Ogree 
felt his captives to ascertain if they were fat enough to be cooked. 
Now and then a little bo}'' would thrust from between the bars of his cage 
a stick instead of a finger, whereupon the ogree would be satisfied of his 
leanness. 



ISTo. 156. 

Tom Tidler's Ground. 

A boundary line marks out " Tom Tidler's Ground," on which stands 
a player. The rest intrude on the forbidden precinct, but if touched must 
take his place. The words of the challenge are — 

I'm on Tommy Tidler's ground, 
Picking up gold and silver. 

Or, dialectically, " Tickler's not at home." 

This Eldorado has many different local names — Van Diemenh land 
in Connecticut ; Dixie's land in New York, an expression which antedates 
the war ; Judge Jeffrey's land, in Devonshire, England ; Golden Pavement, 
in Philadelphia. 

* "Le Diable Boiteux." 

f "An Ogree is a giant with long teeth and claws, with a Raw Head and Bloody Bones, 
and runs away with naughty boys and girls, and eats them all up." — Story of the " Sleep- 
ing Beauty," as given in an old chap-book. 



2 22 Games and Songs of Americaii Children. 

In the Southern States, " Tommy Tidler's Ground " is the name of the 
spot where the rainbow rests, and where it is supposed by children that 
a pot of gold is buried. A highly intelligent G-eorgian assures us that as 
a boy he has often searched for the treasure, but could never find the spot 
where the rainbow touched the ground. 

"Tommy Tidier" represents the jealous fairy or dwarf who attacks 
any who approach his treasure. 



ISTo. 15Y. 
Dixie's Land. 



This is a variety of the last game, in which a monarch instead of a 
fairy is the owner of the ground trespassed upon. A line having been 
drawn, to bound "Dixie's Land," the players cross the frontier with the 
challenge : 

On Dixie's land I'll take my stand, 

And live and die in Dixie. 

The king of Dixie's Land endeavors to seize an invader, whom he must 
hold long enough to repeat the words. 

Ten times one are ten, 
You are one of ray men. 

All so captured must assist the king in taking the rest. 

The word "man" seems to be used in the ancient sense of subject, as 
in the Scotch formula, where one boy takes another by the forelock (a 
reminiscence of serfdom), saying, 

Tappie, tappie, tousie, will yon be my man ? 

The game is played in much the same manner in Germany, with a 
rhyme which may be translated : 

King, I'm standing on your land, 
I steal your gold and silver-sand. 



Mythology. 223 



No. 158. 

Ghost in the Cellar. 

One of the children represents a ghost, and conceals himself in the 
cellar. Another takes the part of a mother, who is addressed by one of 
her numerons family : 

" Mother, I see a ghost." 

" It was only your father's coat hanging up." 

Mother goes down with a match. Grhost appears. Terror and flight. 
Whoever is canght becomes the ghost for the next turn, 

A similar game is played in London, called (we are told) " Ghost in 
the Copper." 

The original of the "ghost" appears in the corresponding German 
game, where we find in his stead the " evil spirit," who haunts the 
garden. 



No. 159. 
The Enchanted Princess. 

This interesting European game, though never naturalized in this 
country, has been occasionally played as a literal translation from the 
printed French. A little girl raises above her head her frock, which is 
sustained by her companions, who thus represent the tower in which she 
is supposed to be confined. The " enemy" comes up, and asks, " Where is 
pretty Margaret?" The answer is, "She is shut up in her tower." The 
"enemy " carries off one by one the stones of the tower (leads away, that is, 
the girls who personate stones), until one only is left, who drops the frock, 
and flies, pursued by Mai-garet, who must catch some one to replace her. 

The celebrated French song begins, " Where is fair Margaret, Ogier, 
noble kniffht?"* "Omer" is none other than Olger the Dane, hero of 
mediaeval romance. The childish drama is one form of the world-old his- 
tory of a maiden who is delivered by a champion from the enchanted 
castle. In the territory of Cambrai, she who is shut up in the tower is 

* Ou est la belle Marguerite, 
Ogier, beau chevalier ? 



224 Games and Songs of American Children. 

said to be " the fair one with the golden locks." We consider the fol- 
lowino- number to be a variation of the same theme. 



^0. 160. 
The Sleeping Beauty. 

About fifty years since, in a town of Massachusetts (Wrentham), the 
young people were in the habit of playing an exceedingly rustic Idssing- 
game. A girl in the centre of the ring simulated sleej), and the words 

were — 

There was a youug lady sat down to sleep; 

She wants a young gentleman to wake her up ; 
Mr. shall be his name. 

The awakening was then effected by a kiss. 

The same game comes to us as a negro sport from Galveston, Texas, 

but in a form which shows it to be the corruption of an old English 

round : 

Here we go round the straioherry hush, 

This cold and frosty morning. 

Here's a young lady sat down to sleep, 
This cold and frosty morning. 

She wants a young gentleman to wake her up, 
This cold and frosty morning. 

Write his name and send it by me. 
This cold and frosty morning. 

Mr. his name is called. 

This cold and frosty morning. 

Arise, arise, upon your feet. 

This cold and frosty morning. 

Some unintelligible negro rhymes follow. 

The refrain of the last version indicates that it is of old English 
origin, and was used as a May -game. 

It would appear, from the character of the round, that various names 
are proposed to the sleeping girl, which she rejects until a satisfactory one 



Mythology, 225 

is presented. At all events, this is the case in a Provengal game which 
we take to be of the same origin as ours. In this game it is explained 
that the girl is not asleep, but counterfeiting death. "Alas! what shall 
we give our sister? IST. IST. to be her husband." 

A favorite French round describes the maiden as asleep "in the 
tower." The pretty song represents her as awakened by the rose her 
lover has left upon her breast. Though there is no very close resem- 
blance between this and the Provencal game, the same idea of deliverance 
from enchantment appears to underlie both. 

We infer, therefore, that the game, apparently so natural an invention, 
originally represented some form of the world-wide story of the " Sleep- 
ing Beauty." If this be so, to explain its history would lead us to 
write of Northern lay and mediaeval legend ; we should have to examine 
the natural symbolism of primitive religions, and the loves of ancient 
gods. The kissing-rorap of a New England village would be connected 
with the poetry and romance of half the world. 

In any case, this interlinking of the New World with all countries and 
ages, by the golden net-work of oral tradition, may supply the moral of 
our collection. 

15 



APPENDIX 



COLLECTIONS OF CHILDREN'S GAMES. 



The following is a list of collections of popular games of children, or collections 
containing such, consulted in preparing the present volume, and referred to in the 
notes by the names of the editors : 

Brand, J. Popular Antiquities of Great Britain. With corrections and additions by 
W. Carew Hazlitt. (Lond. 1870, 3 vols.) The same, arranged and revised by Henry 
Ellis. (Lond. 1813, 2 vols. ; new ed. 1849.) 

Chambers, R. Popular Rhymes of Scotland. (New ed. Edinb. 1870; 1st ed. 1842.) 

HALiiiWELL [Phillips], J. O. The Nursery Rhymes of England. (6th ed. Loud. 1860; 
1st ed. 1842; 2d ed. 1843.) 
Popular Rhymes and Nursery Tales. (Lond. 1849. ) 

Strtjtt, J. The Sports and Pastimes of the People of England. (Lond. 1801.) 



Beleze, Gr. Jeux des Adolescents. (Paris, 1873. ) 

BujEAUD, J. Chants et Chansons Populaires des Provinces de I'Ouest. (Niort, 1866, 

2 vols.) 
Celnart, Madame. Manuel Complet des Jeux de Societe. (2d ed. Paris, 1830.) 
Chabreul, Madame de. Jeux et Exercises des Jeunes Filles. (2d ed. Paris, 1860.) 
DxJMERSAN, M. Chansons et Rondes Enfantines. (Paris, 1858.) 
DuRiEux, A., and Brutelle, A. Chants et Chansons Pop. du Cambresis. (Cambrai, 

1864^68, 2 vols.) 
Gagnon, E. Chansons Pop. du Canada. (Quebec, 1880.) 
Gaidoz, H., and Rolland, E. Melusine. Recueil de Myth., Lit Pop., Trad., et Usages. 

(Paris, 1878.) 
Ktjhff, p. Les Enfantines du Bon Pays de France. (Paris, 1878.) 

PuYMAiGRE, T. J. B. DE. Chants Pop. Rec. dans le Pays Messin. (Paris, 1865 ; 2d ed. 1881.) 
Tarbe, p. Romancero de Champagne. (Reims, 1843, 5 vols.) 



Arbaud, D. Chants Pop. de la Provence. (Aix, 1862, 2 vols.) 

MoNTEL, A., and Lambert, L. Chants Pop. du Languedoc. (Paris, 1880.) 



Coelho, F. a. Romances Pop. e Rimas Infantis Portuguezes. (Zeit. f. Rom. Phil. vol. 
iii. 1879.) 



2 2,0 Appendix. 

Makin, F. R. Cantos Pop. Espanoles, Tomo 1. Rimas Infantiles. (Sevilla, 1883.) 
Maspons y Labros, F. Jochs de la Infancia. (Barcelona, 1874.) 

ViLLABRiLLE, F. Los Juegos de la Infancia. (Madrid, 1847.) Contains little of a popu- 
lar character. 



Bernoni, G. Guiochi Pop. Veneziani. (Venezia, 1874.) 

CoRAZziNi, F. I Componimenti Minori della Letteratura Pop. Ital. (Benevento, 1877.) 
Dalmedico a. Ninne-nanne e Guiochi Infantili Veneziani. (Venezia, 1871.) 
Ferraro, G. Canti Pop. di Ferrara, etc. (Ferrara, 1877.) 
Cinquanta Guiochi Fanciulleschi Monferrini. In Archivio per lo Studio delle Trad. 

Pop. G. Pitr^, S. Salomone-Mario. Fasc. I, II. (Palermo, 1882.) 
GiANANDREA, A. S. Saggio di Guiochi e Canti fanciulleschi delle Marche. In Vol. I. of 

Rivista di Letteratura Pop., G. Pitre, F. Sabatini. (Roma, 1877.) 
Imbriani, V. Canti Pop. Avellinesi. (Bologna, 1874.) 

Canzonetti Infantili Pomiglianesi. In Vol. X. of II Propugnatore. (Bologna, 1877.) 
IvE, A. Canti Pop. Istriani. In Vol. V. of Canti e Racconti del Pop. Ital., D. Comparetti 

and A. D'Ancona. (Torino, 1877.) 
PiTRB, G. Canti Pop. Siciliani. (Palermo, 1870-71, 2 vols.) 



' CoussEMAKER, C. E. DE. Chants Pop. des Flamands de France. (Gand, 1856.) 
Hoffmann von Fallersleben, A. H. Horae Belgicae. (2d Aus. Hannover, 1866.) 
LooTENS, A., and Feys, J. Chants Pop. Flamands rec. ^ Bruges. (Bruges, 1879.) 
Willems, J. F. Oude Vlaemsche Liederen. (Gent, 1848.) 



Aus dem Kinderleben, Spiele, Reime, Rathsel. (Oldenburg, 1851.) 

Baslerische Kinder- und Volks-Reime. (Basel, 187- ) 

BiRLiNGER, A. Nimm mich mit ! Kinderbuchlein. (Freiburg, 1871.) 

DuNGER, H. Kinderlieder und Kinderspiele aus dem Vogtlande. (Plauen, 1874.) 

Feipalik, J. Kinderreime und Kinderspiele aus Mahren. (Zeit. f. deutsch Myth., 

Vol. IV.) 
Fiedler, E. Volksreime und Volkslieder in Anhalt Dessau. (Dessau, 1847.) 
Frischbier, H. Preussische Volksreime und Volksspiele. (Berlin, 1867.) 
Handelmann, H. Volks- und Kinder-Spiele aus Schleswig-Holstein. (Kiel, 1874.) 
Kehrein, J. Volkssprache und Volkssitte im Herzogthum Nassau. (Weilburg, 1862, 

2 vols.) 
Mannhardt, W. Germanische Mythen. (Berlin, 1858.) 

Meier, E. Deutsche Kinderreime und Kinderspiele aus Schwaben. (Tiibingen, 1851.) 
MxiELLENHOFF, K. Sagcn, Marchen, und Lieder d. Herzogthllmer Schleswig - Holstein 

und Lauenburg. (Kiel, 1845.) 
Peter, A. Volksthumliches aus Oesterreichish-Schlesien. (Troppau, 1867, 2 vols.) 
RocHHOLZ, E. L. Alemannisches Kinderlied und Kinderspiel. (Leipzig, 1857.) 
Schuster, F. W. Siebenblirgisch- Sachische Volkslieder. (Herrmannstadt, 1865.) 
SiMROCK, K. Das deutsche Kinderbuch. (Frankfurt am Main, 1857.) 
Stoeber, a. Elsassisches Volksbuchlein. (Strasburg, 1843.) 



Collections of CJiildreits Games. 231 

Vernaleben, T., and Branky, F. Spiele und Reime der Kinder in Oesterreicla. (Wien, 

1873.) 
Wiegenlieder, Ammenreime und Kinderstuben - Scherze in plattdeutscher Mundart. 

(Bremen, 1859.) 
Zeitsclirift flir deutsche Myth, und Sittenliunde, I. -IV. (Gottingen, 1853-59.) 
ZiNGERLE, J. V. Das deutsche Kinderspiel im Mittelalter. (2d ed. Innsbruck, 1873.) 



Arwiddson, a. I. Svenska Fornsanger. (Stockholm, 1842, 3 vols.) 

Djurklou, G. Ur Nerike's Folksprak och Folklif. (Orebro, 1860.) 

Dybeck, R. Runa, En Skrift f or fadernes-landets fornvanner. (Stockliolm, 1842-49.) 

Grundtvig Svend. Gamle Danske Minder i Folkemunde. (Copenhagen, 1854. New 

Series, 1857.) 
Danske Folkeminder. (Copenhagen, 1861.) 
Hammershaimb, V. U. Faeroiske Skikke og Lege. (Antiquarisk Tidsskrif t, Copenhagen 

1849-51.) 
Thiele, J. M. Danske Folkesagn. (Copenhagen, 1820-23, 4 vols.) 
WiGSTROM, Eva. Folkdiktning. (Copenhagen, 1880.) 



Bezsonoff, a. Dyetskia Pyesni. Songs of (Russian) Children. (Moscow, 1868.) 
MozABOWSKi, A. Svyatochnoia Pyesni. Christmas Games of the Government of Kazan 
(Kazan, 1873.) 

Vrcevic, V. Sprske Narodne Igre. Servian Popular Games (Belgrade, 1868.) 



Neus, H. Ehstaische Volkslieder. (Reval, 1850.) 



232 Appendix. 



COMPARISONS AND REFERENCES. 



The object of the following notes is to exhibit, in a clear manner, the extent of 
the correspondence between the games of American children and those belonging 
to children in other countries. This volume is not intended to include all games of 
children, but (with some exceptions in favor of certain amusements which possess 
interest as folk-lore) only such as are played with words or quaint formulas. Of 
games of this class, we find in the collections very few known to children in Great 
Britain, and possessing European diffusion, which are not represented in this series 
by independent American versions (see No. 160, note, end). With these excep- 
tions, the British game-formulas to which American usage does not offer equivalents 
are local and of trifling interest. The references given below may, therefore, be 
considered as a comparative account of English children's games in general. 

The coincidence which this comparison shows to exist between English and G-er- 
man games is very close. Taking three German collections — belonging respectively 
to Switzerland (Rochholz), to Suabia (Meier), and to Schleswig-Holstein (Handel- 
mann) — and leaving out of account songs and ballads, we have about eighty games 
played with rhymes or formulas. Of this number, considering only cases of obvi- 
ous identity, we estimate that forty-five have equivalents in the present series, and 
thirty-three are not so paralleled. But of the latter class, six are known to have 
been played in Great Britain, while thirteen others appear to be variations of 
types represented in this collection. Of the small number remaining, few seem 
to be ancient, it being impossible to point out more than three or four really curi- 
ous games which are not played also in an English form. This agreement cannot 
be explained bj'^ inheritance from a common stock, a theory which research has also 
discredited in other branches of folk-lore. The relationship is only a degree less 
near in other countries ; thus, in a collection of Spanish games belonging to Cata- 
lonia (Maspons y Labros), we find that, out of thirty-eight games, twenty-five have 
English equivalents. 



Comparisons and Refereiices. 233 

NOTES TO INTRODUCTION. 

Carol, p. 9. Middle Latin Choraula, from choreola. The word coraula is still used to 
denote the ring-dance in Switzerland ; also eoreihi, to leap (choreare), Rochholz, p. 371. 
Russian chorom, a round of children, Bezsonoff, p. 190. 

May-games, pp. 16-19. Tarbe, "Romancero de Champagne," ii. 61. Puymaigre, p. 201, 
" Trimazos." A. Rivinus, " De Majumis," etc., in Graevius, Syntagma (Utrecht, 1702). 

Games Cited by Froissart (pp. 34, 35). — The passage here rendered (with the omission 
of two or three obscure names of amusements) is from "L'Espinette Amoureuse," 1. 143- 
338, 35-47. Many of the games mentioned cannot now be recognized from the titles given. 
Others, however, can be identified; thus. Queue loo loo (keuve leu leu) is No. 106 of the pres- 
ent collection; Oats (avainne), No. 21; Scorrb or Derision (risees), perhaps No. 61; King loTio 
does not lie, perhaps No. 55; Grasses (erbelette), No. 42; Cligne-museite (Cluignette), No. 
105; Pince-merine, according to Menagier de Paris, Ixxvii., the same as Pince-sans-rire, 
No. 77, C. Playing tcitli nuts, No. 144; Tliroxmig pence, etc.. No. 144, B. Pebbles (pie- 
rettes). No. 187, or No. 148. Hoolc (havot), perhaps Hockey, No. 136. Mule, a kind of leap- 
frog, still played in Italy, Salta - muletta, Gianandrea, No. 30. A species of this game in 
Philadelphia is now called Saults. Replies (reponniaux), a sort of Hide and seek, No. 105, 
in which the concealed person indicates his whereabouts in answer to a call; see same 
poem, 1. 2653. Astonishment (esbahi), a game which consisted in imitating that emotion; 
thus, when the horses of a party have given out unexpectedly— "I should think we were 
playing at Astonishment," says one of the cavaliers, looking at the faces of the rest (Diet, 
of La Curne de Sainte-Palaye, art. "Esbahi"). On the whole, the impression which the 
catalogue gives us, is that the sports of a child in the Middle Ages were very similar to 
those of to-day, or, perhaps we should rather say, of yesterday. 

LovE-GAMES (p. 39). — This is an old name for games representing or offering opportu" 
nity for courtship, as "love-songs" is for ballads. We have heard both expressions in 
New England, from the lips of aged persons, in whose youth they were current. See the 
Gentleman's Magazine, Feb. 1738. 

NOTES TO GAMES. 
No. 1. English versions are numerous. Halliwell, Nurs. Rh. ( 6th ed. ), Nos. 332, 333. 
Pop. Rh., pp. 123, 124. Chambers, p. 143; p. 141, "Janet jo." Notes and Que- 
ries, 1st ser. VI. 241 ; 5th ser. IV. 51, 157. — German, Meier, p. 107 ( cited ), 109 ; 
Handelmann, p. 62. Vernaleken, p. 55, etc. — Swedish, Arwiddson, iii. 175 f . — 
Icelandic, Arwiddson, iii. 182. Lyngbye, Faeroiske Quaeder, p. 37, introd. note.— 
Faroese, Antiq. Tids., 1849-51, p. 310, "Princes riding," compare No. ^.—Italian, 
Bernoni, p. 43, " LTmbasciatore. " Gianandrea, No. 23, "II bel C&st&Wo."— Span- 
ish (Catalan), Maspons y Labros, p. 47, "La Conversa del rey Moro."— French, Ch. 
du Cambresis, i. 80. 

2. A variety of No. 1. Corresponding is the Faroese version referred to, in which the 
suitors, after rejection as thralls, smiths, etc. , are finally accepted as princes, with 
the expression "tak vid" (literally "take with"), be welcome, which may explain 
the peculiar use of the word "take " in our rhyme. 

3. Also a variety of No. 1. Folk-lore Record, iii. 170. Chambers, p. 139 (cited). 

"I am a lusty wooer" (the version referred to, p. 49, note) is said to have been 



2 34 Appendix. 



played by Charles II. See the Gentleman's Magazine, Feb. 1738 ; Nurs. Rh., 
No. 491. 

4. Henderson, Folk-lore of the Northern Counties (Lond. 1879), p. 27. Compare 
French round in Celnart, p. 24. 

5. Nurs. Rh., No. 479. Compare No. 31. 

6. Nurs. Rh., No. 466, " The Keys of Canterbury." Chambers, p. 61, " The Tempted 
Lady." 

7. Fi^encli, Celnart, p. 15, sixth round, presents verbal correspondence. 

8. These versions belong to a game, widely diffused through Europe, in which a 
" rich" mother begs away, one by one, the daughters of a " poor" mother, until 
she has secured them all. — German, Frischbier, No. 657. — Preneli, Chabreul, p. 175, 
"Riche et Pauvre." Celnart, p. 382, "Olive Beauve et la voisine." Ch. dii 
Camb., i. 77, "La Boiteuse." The celebrated song "Girofle Girofla" is of the 
same origin. In the Canadian round (Gagnon, p. 149), and in the English rhyme, 
for the sake of the dance, the mother whose daughters are begged away or stolen 
is turned into a mother whose object is to marry her many daughters; so the 
Swedish (Arwiddson, iii. 203), which presents verbal correspondence to the English 
song of our collection. Arwiddson, iii. 167, game of "Rich and Poor Birds." 
The first comes in limping, leaning on a cane, and with piteous gestures begs the 
train of the other. By comparing No. 154, and note, it will be seen that all 
the above games make up a single branch of the numerous outgrowths of a primi- 
tive root, which is responsible for no small part of the amusements of youth in 
Europe. Compare Nurs. Rh., No. 848. 

10. Connected is a European game representing courtship — meeting, saluting, part- 
ing, etc. — German, Frischbier, No. 674. — Swedish, Arwiddson, iii. 257. — Flemish, 
Looten and Feys, No. 113. A different but related game is French, Celnart, 
p. 14 (cited). Chabreul, p. 157. Gagnon, p. 151. — Italian, Corazzini, p. 84. — The 
words " Rowe the boat" begin a waterman's roundel, a.d. 1453 ; see Chappell's 
Pop. Music of the Olden Time, p. 482.— (4.) French, Ch. du Camb., i. 221 (cited). 

11. Chambers, p. 140, "Janet jo." Folk-lore Record, iii. 171, " Jenny Jones. " See 
Coussemaker, p. 100, Flemish "Maiden's Dance." — Bernoni, Cant. Pop. Venez. xi. 
2, "Rosetina."— Roxburghe Coll. i. 186-189, Ballad of "The Bride's Buriall." 

12. Compare N. and Q., 3d ser. VII. 353. 

13. Halliwell, Pop. Rh., p. 133. Henderson, Folk-lore, p. 26. 

15. N. and Q., 5th ser. III. 482. — French round cited, Ch. du Camb., ii. 58. Gagnon, 
p. 303 (cited, p. 8). Bugeaud, i. 202. 

16. Chambers, p. 118. — French, Ch. du Camb., ii. 42. 

17. Danish and Swedish ballads, Sv. Grundtvig, Danmarks Gamle Folkeviser, Nos. 
180, 181. 

18. Child, Eng. and Scot. Ballads, 1857, iii. 136. 

19. Child, ii. 154. 

20. Swedish, Arwiddson, iii. 196. 

21. French, Celnart, p. 21, etc. — Provengal, see Fauriel, Hist, de la Poesie Prov., ii. 87. 
— Spanish {QaXdXavi), Mila y Fontanals, Romanc.Cat., p.l73. — Italian, Bernoni, p. 37. 
(Sicily) Pitr^, ii. 33. — German, Meier, pp. 136, 137. — Swedish, Arwiddson, iii. 326. — 
Rounds of a similar type, Chabreul, p. 146, " Salade." Bugeaud, i. 48, "Plantons 
la Vigne." 



Comparisons and References. 235 

22. G*e?'TOfm, Danger, pp. 184-186. Mullenhoff , p. 484, No. 2. "AusdemKinderleben," 
p. m.— Finnish, Neus, p. 387. 

23. Halliwell, Pop. Rh.,p. 127. Chambers, p. 134. 

25. A variation of 23, 24. Halliwell, Pop. Eh., p. 130. Chambers, p. 1^^.— French, 
Gagnon, p. 99. Chabreul, p. 141, etc. — Spanish, Marin, i. 96, " Thus do the Shoe- 
makers." 

26. Folk-lore Rec, iii. 170. Compare French game, Ch. du Camb., i. 223. 

28. Nurs. Rh.,No. 287. 

29. Folk-lore Rec, iii. 169. For French game referred to, see Laisnel de la Salle, ii. 
151. — French, Celnart, p. 53, " L'Anguille Enfilee." 

80. Compare Proven9al nurse-songs, in Chants Pop. du Languedoc, " Chants enumera- 

tifs," especially p. 432. 
31. Compare No. 5. 
82. Halliwell, Pop. Rh., p. 119, " Mary Brown." N. and Q., 6th ser. II. 24:8.—Swedis7i, 

Arwiddson, iii. 238. — Finnish, Neus, p. 388. — Italian, CoTtyparetti, iv. 263. — French, 

Melusine, p. 542. 

33. Chambers, p. 25. N. and Q., 4th ser. II. 274. — Flemish, Dutch, German, Hor. 
Belg., ii., Nos. 143, 145. — French (Canada), Gagnon, p. 129. 

34. Nurs. Rh., No. 290. To this class of jests belongs the German tale, Grimm, No. 
119, "Die sieben Schwaben." 

35. Chambers, p. 344. Halliwell, Pop. Rh., p. 218, quotes the first lines of this rhyme 
from Aubrey's Miscellanies, ed. 1696. 

36. Compare Chambers, p. 137, "A Courtship Dance." — French, Celnart, p. 19. — 
Canadian song of Perrette, Gagnon, p. 286. 

38. For way of playing, compare No. 22. 

40. Chappell, Pop. Music of the Olden Time, p. 589. — French (Canada), Gagnon, 
p. 223. — Swedish, Arwiddson, iii. 369. 

42. German usages, Rochholz, pp. 172-174. Meier, p. 93. — In Middle Ages, Zingerle, 
pp. 32, 33. — Italian, Corazzini, pp. 93, 94. — Drawing lots by spires of grass is 
probably the "Erbelette" of Froissart ; see Celnart, p. 105, "L'Herbette Joli- 
ette." — Spanish, Marin, i. 123. 

43. German usages, Rochholz, pp. 174-183. 

45. Compare French of Gagnon, p. 147. 

46. French, Ch. du Camb., i. 119, etc. — German, Peter, p. 49, etc. — Flemish, Willems, 
p. 522. — Breton, Melusine, p. 462. 

47. French, Rabelais, Gargantua, ch. xxii. Laisnel de la Salle, ii. 156. 

48. Halliwell, Pop. Rh., pp. 263-265. Chambers, p. Zl.— German, Rochholz, pp. 156- 
170 ; he refers to the Rigsmal of the poetic Edda. Schuster, p. 364, etc. — P)'o- 
ven(.al, Ch. Pop. du Languedoc, p. 517, "Las Bestios." 

50. Nurs. Rh., No. 278. Compare Finnish game, Neus, p. 417. 

52. Gerrnan, Vernaleken, p. 94. Meier, p. 135. — French, Chabreul, p. 183. — Swedish, 
Arwiddson, iii. 400. 

53. Strutt, p. 294. Brand, ii. 287. — <?«?-??z a?;., Vernaleken, p. 86, " Ritterschlagen. " 
Rochholz, p. 435. — French, "Les Ambassadeurs, " Celnart, p. 131. Old English 
game of "Questions and Commands," Gent.'s Mag., Feb. 1738; Rochholz, p. 418. 

55. Perhaps the " Roi qui ne ment " of Froissart, which he mentions as a game of his 
childhood (see p. 34), and also as played by great personages. 



236 Appendix. 



56. French, Celnart, p. 125. 

57. Similarly, in a French game, " Le Roi Depouille" (Celnart, p. 139), the player 
must say " Oserais-je?" at every movement. 

58. See the round in Chappell, Pop. Mus. , p. 77. 

60. Perhaps conneoted with No. 154. Compare German, Vernaleken, p. 52, No. 8. 

61. Very likely the "Derision" (Risees) of Froissart. 

63. German, Rochholz, p. 183. Vernaleken, p. 47, etc. — Provencal, "Lou brandet de 
Roso," Ch. Pop. du Languedoc, p. 577. 

64. German, Dunger, p. 176, played also in New York. The rhyme in the text seems 
a recent translation. 

68. Nurs. Rh., No. 352. Chambers, p. 1S7 .—Ft^eiich, Celnart, p. 19.— Spanish, Mas- 

pons y Labros, p. 100, "Jan petit." 
71. Nurs. Rh., No. 218. 

74. Chambers, p. 139, "Curcuddie." — French, Celnart, p. 353, "Les Jarcotons." — 
Among games of motion might have been mentioned the familiar ' ' Puss in the 
Corner," Gent. 's Mag., Feb. 1738. — French, Celnart, p. 57, "Les Quatre Coins," etc. 

75. Halliwell, Pop. Rh., p. 12S.— Danish, Grundtvig, Dansk. Folk., 2d ser. p. 142.— 
Italian, Bernoni, p. 19, No. 18. — Spanish, Marin, 1. 52, No. 84. 

76. Halliwell, Pop. Rh., p. 112. — French, Chabreul, p. 8, " Petit bonhomme vist encore, 
car il n'est pas mort." — German, Handelmann, p. 31, " Little man still lives." — The 
High-German formula is," Stirbt der Fuchs, so gilt der Balg." Like the English 
phrase is a Danish game, " Do not let my master's bird die, Syv, " Adagia Danica," 
p. xlvii. — Russian (Kazan), Mozarowski, p. 88, " Kurilka lives, she is not dead." 

77. (a) (y^rmaTO, Vernaleken, p. 89.— French, Celnart, p. 307— (b) Nurs. Rh., No. 282.— 
German, Vernaleken, p. 88, "Vater Eberhard." — (c) Germcm, Rochholz, p. 430, 
No. 50. — French, Rabelais, Gargantua, ch. xxii. Celnart, p. 124, "Pince-sans- 
rire." 

79. Compare finger-game in Chambers, p. 116. Italian finger-game referred to, Ber- 
noni, p. 22, No. 25. 
81. Strutt, p. 290, "Hammer and Block. 
83. F)'e7ich.—Ce\nsiYt, p. 162, "Le Chevalier Gentil." 

86. Nurs. Rh., Nos. 297, SOI.— Germcm, Meier, p. 138; Handelmann, p. 4tQ.— French, 
Melusine, p. 198. 

87. Italian (the game, not the rhyme), Ferraro, G. Monfer., No. 10. — Spanish, Marin, 
i. 48, No. 71. Compare Nurs. Rh., No. 293 ; Chambers, p. 159. 

88. Celnart (2d ed., a.d. 1830) gives sixty kinds of "penitences," consisting in kissing, 
as then usual in French society (see p. 6). — French, Celnart, p. 302, "Les Aunes 
d'Amour," the same as "Measuring yards of tape." — German, Frischbier, p. 201, 
" Aus dem Brunnen erretten," equivalent to "I'm in the well." Redeeming for- 
feits in Germany," Frischbier, p. 199. 

89. With the dialogue at the end of the second version, compare No. 154, B. An 
Italian game, Corazzini, p. 104, has a similar theme. 

90. Spectator, No. 268. — German, Rochholz, p. 440. 

91. Strutt, p. 386. "Even or Odd." A universal game. — Ancient Fgyptian, Wilkin- 
son, ii. 416. — Ancient Greek, Aristotle, Rhet. iii. 5. The foi'mula is apna i] irepicrffd. 
— Latin, "par impar." — German, "grad oder ungrad, " or "effen oder uneffen." — 
Spanish, Marin, i. 51, "Pares 6 Nones" ("par est, non est"). 



Comparisons and References. 237 

93. The similar Italian game begins, "Galota, galota," whence, no doubt, our " Hul 
gul" Gianandrea, No. 20. — Ancient Greek, Scholiast to Aristophanes, Pint. 1057, 
TToaa iv x^P<^'^v ^X*^ ', "How many have I in my hands?" Suidas (10th century). 
Lexicon, under TraiSid, writes : ' ' There is a game of the following character among 
the Athenians : Having taken up a number of nuts and holding out his hand, one 
asks, 'How'manj' have I?' And if [the other] guesses the number, he takes as 
many as he has in his hand ; but if he fails to guess, he loses as many as the asker 
holds in his hand." — Latin, given by Helenius Acron (4th century), " quot in 
sunt?" See Marin, note to preceding game. — German, Meier, p. 123, "Wie viel 
soUen Kerner in meiner Hand sein?" Handelmann, p. 35, etc. 

93. A child rests his head in the lap of another, while a third claps the back of the 
first, keeping time to the words of the rhyme, and finally raises a certain number 
of fingers ; if the kneeling child can guess the number, he takes the other's place. 
— Spanish, Marin, i. 51, No. 81. The rhyme closely resembles the English given 
in the text. — Italian, Imbriani, No. 30, where the question is, "How many horns 
do I hold up?" — German, Meier, pp. 135, 136, where it is asked, "Wie viel Horner 
hat der Bock?" This allusion to the goat (as a leaping animal) refers to the usual 
practice of riding on the back of the stooping child while putting the question. 
— German, Rochholz, p. 434. — Duteli, Hor. Belg., vi. 182. The formulas differ. 
Tylor, Primitive Culture, i. 67. The Latin formula of Petronius is curiously 
translated by F. Nodot, a.d. 1694: " Etant h cheval sur luy, il luy donna plusieurs 
coups du plat de la main sur les epaules, disant tout haut en riant, Quatre cornes 
dans un sac, combien font-ils? ce jeu fini," etc. Nodot remarks of his free trans- 
lation, that it is still a boys' game in France. 

94. Halliwell, Pop. Rh., p. 116, " Handy - Dandy. " — German (Austria), Vernaleken, 
p. 41. The formula is the exact counterpart of the English: " Windle,wandle, in 
welchen Handle, oben oder unt?" Handelmann,p. 35 (Schleswig-Holstein), " Where 
dwells the smith? Above or below?" — Spanish, Marin, p. 50, No. 77. 

95. German, Meier, p. 124, " Under which finger sits the hare?" 

97. Halliwell, Pop. Rh., p. 135, "My Lady's lost her diamond ring." — Low-German 
formulas exactly correspond to our "Hold fast what I give you." Thus the 
North Frisian, "Biwari wel, wat ik di du," Handelmann, p. 38. Corresponding 
to "Button, button, who's got the button?" is the Italian " Anello, anello, chi 
ha mi anello?" Gianandrea, No. 14. — Spanish, Maspons y Labros, p. 86. 

98. Halliwell, Pop. Rh., p. 133. 

99. German, Frischbier, p. 195. 

100. A universal game. 

101. Halliwell, Nurs. Rh., Nos. 338, 357; Pop. Rh., p. 118; Chambers, p. 133, "The 
King and Queen of Cantelon." — German, Rochholz, p. 414, No. 33. 

103. Halliwell, Pop. Rh., p. 132, " The Old Dame," like our B. The Scotch of Cham- 
bers, p. 130, "Gled Wylie" (wily hawk) corresponds to our first version. — Ger- 
man, MuUenhoff, p. 488; Handelmann, p. 76, etc. — Swedish, Arwiddson, iii. 164. — 
Italian, Bernoni, p. 34, No. 40, here a game of a witch like our second version. — 
MnnlsJi, Neus, p. 418, begins like the Scotch. — Russian, Bezsonoff, p. 195, prob- 
ably borrowed from the German. 

103. The name, "Tag," in Gent.'s Mag., Feb. IIZS.— German, Handelmann, p. 66, "Ei- 
sen anfassen;" "Eisenzech" in Berlin; "Eisenziggi" in Switzerland. — Italian, 



238 Appendix. 



Bernoni, p. 62, "Toca fero." — "Squat-tag" is also Spanish, Maspons y Labros, 
p. 81. 

105. Ancient Greek, Pollux, ix. 117, 'ATrodiopaaKivSa, " Game of Running Away." — Ger- 
man, Yernaleken, p. 89, " Verstecherlspiel, " " Einschauen. " — Itcdian, Bernoni, 
p. 61, "CM se vede, eh!" — French, Celnart, p. 55, " Cligne-musette " or " Cache- 
caclie." 

106. French, Cliabreul, p. 1, "La Queue Leuleu," mentioned by Froissart. — German, 
Rochholz, p. 408, etc.; Schuster, p. 392, a game of wolf and geese; so Russian, 
Bezsonoff, p. 205. 

107. Spanish, Marin, i. 169. The seeker must wait until the hiders, who go off one by 
one as they are counted out, cry " Jilo bianco, jilo negro," etc. Hence, probably, 
the cry " Blanca-lilo, etc., of the English game. The rest proceeds like No. 105. 
In the Spanish sport, a player reaching goal must spit three times ; this seems tohave 
been originally a conjuration against the Evil Spirit, whom the seeker represented. 

108. Ancient Greek, Pollux, ix. 113, 123. The game is universal. See Handelmann, 
p. 71. Child, Eng. and Scot. Pop. BaL, 1882, i. 67. 

109. German, Handelmann, p. 65, ' ' Die Hexe. " The games are identical ; yet the 
children, from whom the version in the text was learned, imagined that they had 
"made it up!" 

110. Strutt, p. 61. — German, Vernaleken, p. 63, "Das Barlaufen." — French, Celnart, 
p. 58, "Les Barres." — Italian, Bernoni, p. 87. The French word barres is prob- 
ably only a false interpretation of an older word bar, a form of our base, meaning 
goal; so Swiss "Bahre," Basle. Kindr., p. 30. — Flemish, in Hor. Belg., vi. 181. 

111. N. and Q., 2d ser. VIII. pp. 70, 132, Brand, ii. dW.— German, Handelmann, p. 81, 
"Die Katzen von dem Berge." The phrase is " Cat, cat, off my hill!" — French, 
Beleze, p. 42, " Le Roi Detrone." 

113. Chambers, p. 122, "Hickety Bickety." — German, Aus dem Kinderleben, p. 24. 
Rochholz, p. 442. 

114. Folk-lore Rec, iii. 169; Chambers, p. 36, See No. 89. 

115. (rerma re, Vernaleken, p. 74, " Weinbeer-Schneiden. " — Italian, Bernoni, p. 50. This 
is a variation of No. 156 ; compare Frischbier, p. 186. 

116. Chambers, p. 127, " Scots and English." 

117. This number includes the remains of two ancient games: (a) Ancient Greek, ff^ot- 
vocpiXivSa, Pollux, ix. 115, in which a player must be whipped round the ring with 
the cord he has dropped at the back of another. — German, in 14th century, Mone, 
Anzeiger, 1839, p. 395. — Spanish, Maspons y Labros, p. 22. — French, Celnart, p. 55. 
(b) Strutt, p. 285, " Cat and Mouse, or Kiss in the Ring," where a player pursues 
another round and through the circle. — Frencli, Celnart, p. 39, "Le Chat et la 
Souris." — Italian, Gianandi'ea, No. 6. — German, Handelmann, p. 78. 

122. Variation of No. 121. The name connects it with the old English game of ' ' Frog in 
the Middle," Strutt, p. 293; the ancient Greek, xwrpu'^a, " pot-game, " see p. 31, note. 

123. German, Vernaleken, p. 75. Handelmann, p. 80. Meier, p. 105. See No. 89. 

124. French, Chabreul, p. 22, "La Toilette de Madame." 

125. Nurs. Rh.,No. 131. 

127. German, Rochholz, p. 430, No. 50. See Nos. 77, 152, 153. 

128. "Marble-day" in Sussex is Good Friday, N. and Q., 5th ser. XII. 18. "Times" 
of German sports, Basle. Kindr. , p. 30. Meier, p. 92, 8. 



Compariso7is and References. 239 

139. Brand, ii. 303, " Camp." Strutt, p. 78. — Ancient Greek, Pollux, ix. 104. — Icelandic 
and Low-German, Weinhold, Altnord. Leben, p. 393. Egils Saga, ch. 40. 

130. Games of ball played witb. tbe band are, o-f course, universal. 

131. Strutt, p, 381 (new ed.). Strutt, p. 76. Bradford's History of Plymoutb (ed. by 
Cb. Deane, Boston, 1856), p. 113. Ducange, under Pelota. Wirt Sikes, Britisb 
Goblins, p. 373. 

133. German (Austria), Vernaleken, p. 3. (Schleswig - Holstein), Handelmann, p. 88, 
" Stebball." (Switzerland), Rochholz, p. 388. 

136. Jamieson gives Scotcb name as "Sbinty." — Italian, Ferraro, G. Monfer., No. 38. 

137. German, Vernaleken, p. 9. — French, Celnart, p. 69. — Italian, Ferraro, G. Monfer., 
No. 33, " Le Pietruzze." 

138. German, Vernaleken, p. 10. Rocbbolz, p. 389. 

139. German, Vernaleken, j^. 11. Rocbbolz, p. 399. 

140. German, Vernaleken, p. 15. — Tbe American word "Cat" ("one old cat," "two 
old cat," etc.) is explained by tbe Flemish "Caetsen, Ketsen," tbe common name 
of tbe game of ball in tbe Netberlands, Hor. Belg., vi. 177. 

141. Gen^man, names of "marbles." " Scbnell-Kligelcben " (15tb century), " Scbusser," 

"L5per," also "Marmeln," tbe latter wben made of marble. A MS. of tbe 15tb 
century mentions ' ' tbe yellow glass used for tbe little yellow balls witb wbicb 
schoolboys play, and wbicb are very cheap," Rocbbolz, p. 431. — Playing mar- 
bles {klucJcern) in the streets was forbidden on pain of torture, by the Reformers 
in Zurich, A. r>. 1530. — The general name in North Friesland is ' ' Rollkugle, " 
"rollballs." — French name, "billes;" see Celnart and Belize for description of 
games. Tbe game of Roman boys with nuts, from which marbles is probably 
derived, is still played in the Netberlands, Hor. Belg., vi. 182. Nuts are also 
used instead of marbles in Italy, Gianandrea, No. 20. 
143. Strutt, p. 86, "Tip-cat." Brand, ii. 303, "Kit-cat." The game, wbicb is played 
in Hindostan, N. and Q., 4th ser. IV. 93, may probably have made its way into 
Europe from tbe East. — German, Handelmann, p. 89, "Kipseln." Vernaleken, 
p. 39, " Titschkerln. " — Italian, Bernoni, p. 81; p. 83, " Chiba e Cheba." 

143. Brand, ii. 305. 

144. (a) German, Rocbbolz, p. 436. Vernaleken, p. 35. — French, Celnart, p. 379, "La 
Fossette aux Noyaux," played with cherry-stones or plum-stones. The fillip 
given to the stone is called poquer, poke. Froissart appears to allude to this 
game, (b) Also ancient. — Italian, Gianandrea, No. 20, "Battemuro." 

145. German, Handelmann, p. 93, "Kaak." — Italian, Gianandrea, No. 17, "La 
Checca." 

146. Strutt, p. 266. Brand, ii. 330, " Scotch-hoppers "mentioned a.d. 1677. — German, 
Vernaleken, p. 38, " Tempelhupf en. " — Italian, Bernoni, p. 84, "El Campanon." — 
French, Celnart, p. 379, "La Ma^aWe."— Hindostan, N. and Q., 4th ser. IV. 93. 

147. G^ermcm, Handelmann, p. 96, "Stickmest." 

148. Though played in Great Britain, the game is not (so far as we know) mentioned 
by writers. — French, Celnart, p. 375 f., "Les Osselets." — Spanish, Marin, pp. 80-95, 
150-159, " Juego de las Chinas," "Game of the Stones." — German, Meier, p. 145. 
— Japanese, Tedama, "Hand-balls." 

149. Rhymes for counting out are used throughout Europe, and examples could be 
cited of types corresponding to most of the English forms, and sometimes evident- 



240 Appendix. 

ly related. Peculiar is the usage in Spain, where the sjdlables are told off alter- 
nately on the closed hands of a player, who holds a pebble ; if the last syllable 
falls on the hand containing the stone, the lad proving his fortune is free, and so 
on until only one child remains. The custom has given a proverb to the language. 
Marin, i. 117. A like usage (without the rhymes) we have found to be the usual 
way of selection in a town of Pennsylvania (Bethlehem). 

150. First printed in Ritson's "Gammer Gurton's Garland." Other original versions: 
(1) Gent.'s Mag., Sept. 1823; (8), (3) The Critic, Jan, 15, 1857, and (4) Feb. 3, 1857. 
The last mentioned is nearly identical with our B. The communicator of (1) 
refers it, through an aged informant, to a lady born in the reign of Charles II. ; 
it has several more verses than the last, generally agreeing with our E, but lacks 
the ending. The rhyme, in England, appears at present to be known as a song 
only. The European rhyme is properly a dialogue, the verses being sung alternately 
by the warders and the approaching party; the former, whose joined and lowered 
arms represent the fallen bridge, do not elevate them until the negotiations are 
concluded. The game is, no doubt, that mentioned under the name of ' ' Coda 
Romana," by G. Villani, Istorie Fiorent., a.d. 1328, ch. xcvi., as played by the 
boys of Florence, in which the question put to the imprisoned player is said to 
have been, " Guelf or Ghibelline T — German, Meier, p. 101 (cited), etc. Mann- 
hardt in Zeitschr. f. d. Myth., iv. 301-320, gives twenty-seven versions, including 
Slarne, Hungarian, Scandinaman. — Swedish, Arwiddson, iii. 250. — French, Cha- 
breul, p. 117, "Le Ciel et I'Enfer." Celnart, p. 52, "Le Pontlevis." — Italian, 
Bernoni, p. 46, "Le Porte." Corazzini, pp. 90-93; p. 87 (a mixed form with No. 
154). — Spanish, A. de Ledesma, a.d. 1605, beginning "Fallen is the bridge." See 
Marin, i. 166-168.— For the English rhyme, see also N. and Q., 1st Ser. II. p. 338. 

The name "Lady Lee " in the song may imply a legend. We read in Nature, 
June 15, 1871, p. 118: "It is not, for example, many years since the present 
Lord Leigh was accused of having built an obnoxious person — one account, if 
we remember right, said eight obnoxious persons — into the foundation of a 
bridge at Stoneleigh." The communicator of version (2) (The Critic, Jan. 15, 1857) 
spelt the name Leigh, and took "the Lady Leigh of the song to be the wife 
of Sir Thomas Leigh, who was Lord Mayor of London in 1558, . . . ancestor 
of the noble family of Leigh of Stoneleigh, Warwickshire." Compare the ballad 
of "The Bridge of Arta," Passow, Pop. Carmina Grsecise Recent., No. 511; 
Tommaseo, Cant. Pop. Toscani, iii. 174 f. ; F. Liebrecht, Zur Volkskunde, 1879, 
p. 284. 

151. A variation of No. 150. — Italian, Corazzini, pp. 91-93, beginning, "Open, open 
the gates." Gianandrea, No. 3, " Le Porte del Paradiso." The dialogue ends, 
" Let the King of France with all his soldiers pass." 

152. Italian, Bernoni, p. 54. — Frenclt, Ch. du Camb. i. 133. — Oerman,Yexndi\ek.en, p. 55. 

153. German, Meier, p, 117, " Farben aufgeben," etc. — Italian, Bernoni, p. 51, "I 
colori." This version is identical with the German and our A, as is also the 
SpanisJi (or Catalan), Maspons y Labros, p. 91. The game of "Los Colores " is 
mentioned by A. de Ledesma, a.d. 1605. — French, Belize, p. 40 (cited). 

Intermediate between this number and the following are games of selling birds, 
Frischbier, p. 184; of catching birds, Rochholz, p. 449. 
Greek game of the shell, 'OarpaKivSa, Pollux, ix. 111. 



Comparisons and References, 241 

154. The following is our classification of the numerous games (not before noticed as 
connected) belonging to this cycle of childish tradition : 

(1.) Versions preserving the original idea of the child-stealing witch (as in our 
A, B, and C).— Halliwell, Pop. Eh., p. 131 (cited).— (rerma??,, Meier, p. 117 (cited). 
— Italian, Corazzini, p. 110, a fragment. 

(3.) Versions in which (as in our D) the mother is represented as present, and 
the game becomes one of begging instead of stealing children. This is the case in 
most Oerman versions. The tests described in No. 152 are introduced and become 
the leading feature of the game. — G-erman, Frischbier, p. 183. Rochholz, p. 436, 
and p. 444, where the mother is called "Maria, mother of God," and the game "Get- 
ting Angels." Mullenhoff, p. 486, No. 7. — Swedish, Arwiddson, iii. p. 437 (cited). 
Mannhardt, Germanische Mythologie, pp. 273-321, gives fourteen versions, with a 
long discussion of this game, and concludes (p. 297) that the last girl of the row 
(who in our A is the eldest daughter, but here represents the "Mother Rose") 
"personates the goddess Freya cherishing in or behind the clouds the souls of the 
dead, who, renewed through the heavenly waters (the fountain of youth), are 
destined to return to earth at new birth as the souls of children !" 

It is very curious to observe that several Prussian versions contain traits only 
explained by the American games, the form of which they thus imply as more 
original. Thus the mother is invited to a meal by the witch, Frischbier, p. 182, 
and the person invited sends excuses (see our A). 

(3.) The mother and children are represented in childish fashion as a hen and 
her brood (see our B, and No. 101). Hence the game of the "Rich and Poor 
Birds;" see references in No. 8, note. — Italian, Corazzini, pp. 86-88. Gianandrea, 
No. 19, "Madonna Pollinara." 

(4.) The children are denoted by the names of leaves or flowers. — German, Ver- 
naleken, p. 58, "Die Grossmutter. " The visitor begs for a leaf as balsam to heal 
her injury, and the girls are gathered under the name of leaves. So Frischbier, 
p. 181. Feifalik, No. 81. — Spanish, Maspons y Labros, pp. 87-89, game of "Pull- 
ing Leeks." 

(5.) The game has become a representation of selling pottery. — Oerman, Frisch- 
bier, p. 183. Mannhardt, p. 284. — Swedish, Arwiddson, iii. 169, " Selling Pots," a 
dance, has become a mere mercenary transaction. — The English game of " Honey- 
pots " is a version of this, where the weighing feature is to be explained as in No. 
152. — Italian, Bernoni, p. 57, "I Piteri," where the original idea reappears. The 
purchaser advances limping (a characteristic of witches), and the game is one of 
stealing and recovery (like our London version E). — Italian, Gianandrea, No. 19. 
The first part of the game is played as in (3). The "pots " are weighed, as in the 
English game mentioned. Ferraro, G. Monf er. , No. 43, where the purchaser is the 
devil, and the game thus passes over into the form of No. 153. — Spanish, Maspons 
y Labros, p. 87, "Las Gerras." 

(6.) A game of stealing or measuring cloth. — German, Rochholz, p. 437, "Tuch 
anmessen." In this game, mentioned by the mother of Goethe (Dlintzer, Frauen- 
bilder aus Goethe's Jugendzeit, p. 506), the children are arranged against the wall 
to represent cloth, which the dealer measures and names by the color of the stock- 
ings of the children. A thief steals the cloth bit by bit, which the dealer must 
recover by guessing the color, a task of some dilficulty, the stockings having been 

16 



242 Appendix. 

taken off in the interval. A very curious Low-German version, Brem. Wiegen- 
lieder, p. 61, removes any doubt as to the relation of the amusement to the original 
game. In this version the colored cloths are only names for children. There 
are verbal coincidences v^ith forms given in the text, the dialogue beginning 
" Mother, the broth is boiling over !" (as in our version B), put (as in our version 
C) into the mouth of the watcher left in charge by the absent mother ; so Aus dem 
Kinderleben, p. 39, " Leinendieb. " The remainder of the first paragraph of C 
will be found almost word for word in Handelmann, p. 57, No. 80, "Frau Rosen," 
a version of the form (2). — Italian, Bernoni, p. 55, "I Brazzi de Tela," "the 
measures of cloth." The thief advances limping, the owner having departed, 
steals the cloth, but is pursued, and the goods recovered, as in the game of pots 
described above. Ferraro, G. Monfer., No. 3. — French, Celnart, p. 43, "La 
Toile," has become a kissing romp of grown people. 

(7.) Finally, to the same root belong various rounds and dances which represent 
a mother who wishes to marry her many daughters, or of a poor widow who has 
but one daughter; see our No. 8, and note. 

155. German, Grimm, No. 15, "Hansel und Grethel." 

156. Gent.'s Mag., Feb. 1738, "Fryar's Ground." — Spanish, Maspons y Labros, p. 93. — 
French, Celnart, p. 53, " Chateau du Corbeau;" " Je suis dans ton chfiteau, corbeau, 
et j'y serai toujours." — German, Meier, p. 98, "1st der Kukuk zu Haus?" see No. 
115, note. German games based on this idea are numerous. Vernaleken, p. 77, 
"The Black Man;" p. 62, "Dead man, arise;" p. 73, " Wassermannspiel. " The 
child representing the "Water-spirit lies in the dry bed of a brook and pretends 
to sleep. The rest approach to tease him, when he endeavors to seize one with- 
out leaving the brook or pit. The first so caught must assist him to capture the 
rest. The superstition about a treasure buried at the foot of the rainbow is also 
Swiss, see Llltolf, Sagen, etc., Von Lutzern, p. 384. 

157. A variation of 156. — German, Meier, p. 121. Rochholz, p. 415. 

158. German, Meier, p. 102, "Der Bose Geist." 

159. French, Celnart, p. 365, etc. — German, Vernaleken, p. 52, etc. See Mannhardt, 
Germ. Myth., pp. 492-511, who gives twenty -three versions, including a Spanish 
(Catalan) one. He imagines, as usual, a good deal of mythology in the game. 
The mythologic character belongs, not to the details of the children's rounds, but 
to the cycle of traditions on which these are founded. The name in Suabia is 
"Prinzessin erlosen," "to disenchant the princess." 

160. Provengal, Arbaud, ii. 2,^1 .—French, Puymaigre, p. 334. Bugeaud, i. 126. Tarbe, 
ii. 178. 

Of the following games played in Great Britain, and possessing European equivalents, 
we have not obtained American yersions: (1.) Halliwell, Pop. Rh., p. 131, "Game of the 
Fox." — German, Rochholz, p. 44, "Fuchs aus dem Loche." Handelmann, p. 74. — French, 
Beleze, p. 27, "La Mere Garuche," also "Le Diable boiteux." — Ancient GrctJi, Pollux, ix. 
121. (2.) Halliwell, Pop. Rh., p. 126, "The Poor '^oI^vax."— Spanish, Maspons y Labros, 
p. 86, mentioned a.d. 1605, Marin, i. 177. (3.) " The Wadds," Chambers, p. Vi^.— German, 
Rochholz, p. 432, No. 52. (4.) Chambers, p. 128, "The Qx^m ."— German, Rochholz, 
p. 445, "Der Teufel an der Kette." (5.) Nurs. Rh., No. 323, "This is the Key of the Wmv^- 
dom.."— German, Handelmann, p. dQ.— French, Celnart, p. 181.— Spanish, Marin, i. 88. 

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